THE WINTER'S TALE till 6 January.
THE WINTER’S TALE: William Shakespeare.
Part of the Complete Works Festival.
Swan, Stratford Upon Avon.
Runs: 3h 10m, one interval, till Saturday 6 January.
Review: Rod Dungate, 21 November 2006.
Enthralling.
A strong production this one, and sustained with solid and telling relationships throughout. The young Mamillius wishes to tell us a ‘sad tale’ – one that’s best for winter. As this tale spirals into an emotional darkness it’s the strength of the central relationships that pulls us into the play’s world and ensures our own powerful journey.
Dominic Cooke and Mike Britton (director and designer) have chosen a late 1950s setting for the first part of the play. Logically this should work against the ‘magic’ of the play – but it doesn’t. Today we are more ready to accept as adults the concept of magic; and the collision between the reality of the mid twentieth century and the fantastic somehow makes the play stronger. Particularly in the thrilling realisation of divine intervention to Leontes’ denial of the Oracle’s words; and this is not the only element of audacious staging.
Anton Lesser leaves us no room to contemplate the ins and outs of Leontes’ rapid descent into his jealous madness. Lesser goes for it 120 per cent. His rage is sudden and all consuming, sweeping all (us included) before it. He is completely at one with the text and highly physical too. Yet he beautifully contrasts this youthful physicality with a powerful stillness and calm when he ages for the play’s second half; his emotions now at his reconciliation of a quite different order.
Lesser never allows us to doubt his relationships with his wife, Hermione, and with Polixenes. Here he is greatly assisted by strong performances from Kate Fleetwood’s elegant, charming and human queen and Nigel Cooke’s warm and genuine king.
But never have I seen a Paulina who makes this play so much her own. In the early parts, Linda Bassett, in short fur coat, has all the firm and easy authority of the English aristocrat – a Lady-in-Waiting if ever I saw one. Her cursing of Leontes is terrifying. And she ages beautifully, forming a tender and remarkable bond with Leontes. Love of a different kind made manifest here. Bassett’s is a remarkable performance.
There are a host of fine performances as we move into the shepherds’ world and a strong sense of ensemble. Michelle Terry and Simon Harrison (Perdita and Florizel) have an engaging freshness and I was totally engaged by Richard Moore’s Old Shepherd. Yet despite the jollity, how pleased we are, in this production at least, when we return to the place where are hearts are held, and the reconciliations that happen there. All feelings are intensified in the promenade setting which successfully links the first and second levels of the theatre space.
It’s completely satisfying.
Archidamus: Trystan Gravelle.
Camillo: Joseph Mydell.
Leontes: Anton Lesser.
Hermione: Kate Fleetwood.
Mamillius: Jonathan Clowes/ Edward Statham.
Polixenes: Nigel Cooke.
Ladies: Frances Ashman, Ony Uhiara.
Sicilian Lords: Nyasha Hatendi, Ashley Rolfe, Mark Theodore.
Antigonus: Ben Onwukwe.
Paulina: Linda Bassett.
Gaoler: Jason Barnett.
Emilia: Amanda Daniels.
Servant: Danny Dalton.
Officer: Robin Lawrence.
Cleomenes: Clarence Smith.
Dion: Maynard Eziashi.
Time: Robin Lawrence.
Autolycus: Richard Katz.
Young Shepherd: Trystan Gravelle.
Florizel: Simon Harrison.
Perdita: Michelle Terry.
Old Shepherd: Richard Moore.
Mopsa: Amanda Daniels.
Dorcas: Frances Ashman.
Shepherd’s Servant: Jason Barnett.
Directed by: Dominic Cooke.
Designed by: Mike Britton.
Lighting Design by: Chris Davey.
Music by: Gary Yershon.
Sound Design by: Carolyn Downing.
Associate Director: Maria Aberg.
Movement by Liz Ranken.
Fights by: Terry King.
Assistant Director: Russell Bolam.
Dialect Work: William Conacher.
Company Voice Work: Charmian Gradwell.
2006-11-22 19:38:06