TRAGEDY AND ROMANCE IN THIS SHAKESPEREAN
SAGA
by Ed Farolan
The Winter’s Tale
by William Shakespeare
Directed by Christopher Gaze
Vanier Park, Vancouver
Until September 21, 1997
739-0559 or 280-4444
Academics through the years have branded Shakespeare’s The Winter’s
Tale (performed for the first time in 1611, five years before the
Bard’s death) a problem play. “Neither
Love's Labour's
Lost nor this play are among the more often performed plays because
they’re much harder to pull off than the more accessible comedies; but
we have a mandate to present any and all of Shakespeare’s work”,
Director Christopher Gaze said in an interview with the Vancouver
Sun.
It is problematic partly because Shakespeare tries to put two plays in one
for an already lengthy play (3 hours), and towards the end of the second
part, adds too many ingredients, hurrying up the denouement.
But it is truly admirable how Gaze "pulls it off", as he puts it, accepting
this difficult challenge and gets his company to put on these difficult
problematic plays. And he is doing them with success --and relish, to
boot!
The Winter’s Tale is about King Leontes of Sicilia (Mike
Stack) who is jealous of King Polixenes of Bohemia (Andrew Wheeler)
because Leontes’ wife Hermione (Denyse Wilson) favours Polixenes
with her attention during his visit to Sicilia. Driven by suspicions that
the Queen has been unfaithful, Leontes imprisons his wife and, thinking that
his new-born daughter is Polixenes’, orders the baby to be abandoned
in some remote area in Bohemia to die. His wife dies in prison, his young
son dies of despair, and Leontes, after destroying his entire family through
blind jealousy, dedicates himself to a life of mourning.
After this gruesome and almost unredeemable first act, the play turns into
a charming almost magical second act. It is sixteen years later in Bohemia.
It is the shepherds’ sheep-shearing feast, and we find out that the
beautiful Perdita (Tiffany Lyndall-Knight) who was found by shepherds
when she was abandoned, is actually the daughter of Leontes and Hermione.
Prince Florizel (Anthony Santiago), the son of King Polixenes, falls
in love with Perdita against his father’s wishes. The young lovers flee
to Sicilia pretending to bring greetings from Polixenes and are warmly received
by Leontes. The shepherds who had raised Perdita finally reveal her true
identity to the Kings. All is forgiven and Leontes is overjoyed to be reunited
with his daughter. For the last big hurrah, Shakespeare borrows the deus
ex machina technique of Greek playwright Euripedes and voila,
his wife comes back to life for a really happy ending!
It’s laughable, but that’s what comedies are about: sometimes
illogical, often absurd.
All in all, the production was flawless. The actors were true Shakesperean
actors, with their crystal clear and crisp diction and enunciation. Their
timing was perfect, hitting the right notes, most of the time. The choreography
particularly the martial arts dance of the satyrs during the shepherds’
feast was wonderful. The costumes were colourful and magnificent: the first
act with the purple and other Winter subdued colours, and the second act
with the invigorating technicolours of Spring .
As for the actors, watch out for Paulina (Patricia Idlette) and the
roguish Autolycus (Peter Anderson) for their comic antics which resulted
in laughs and ovations from the audience.
All in all, another A+ for Gaze and
company!