Two Plays in One

The Winter’s Tale – Goodman Theatre

When published in the 1623 First Folio, William Shakespeare’s five-act play was grouped with his comedies. Later, however, this “problem play,” as it’s been called, has been lumped with the Bard’s later romances, along with “Cymbeline,” “Pericles” and “The Tempest.” The problem comes from the perception that the play appears to be two plays in one. The first half, at least in Robert Falls’ adaptation, is so dramatic that it seems like a powerful tragedy. Then, just as the first act comes to a close, and continuing into the second act, we’re suddenly transported to a pastoral setting. Whereas Act I was cold, darkly lit and costumed primarily in black and charcoal gray; Act II is joyful, almost bawdy and filled with confetti and bright colors. Then, lest the theatergoer settles into this orgy Dionysian revelry, the script returns to the darkness for an ending that is both redemptive and as happy as can be expected.

Shakespeare drew his inspiration for many of his characters and settings from mythology. This play is no exception. It tells of a riff between Leontes and Polixenes, two kings who’d been dear friends since childhood. Without very much provocation, jealousy consumes Leontes, and he suddenly accuses Queen Hermione, pregnant with his second child, of treason and having an affair with his friend. He claims that the baby on the way is actually Polixenes’ but he sends his men to consult the Oracle for the truth.
The oracle doesn’t support Leontes’ suspicions, yet he arrests his Queen, orders that his friend be murdered and the newborn baby girl taken away and left to die. Ultimately, both Hermione and Leontes’ son, Mamillius, die of grief and shame. But Polixenes is warned to flee the country, by Leontes’ servant, Camillo, and so the two men set sail for home in Bohemia, a bucolic country known for its sheep.

When we rejoin the play for Act II, much time has passed. Perdita (Chloe Baldwin), Leontes’ abandoned daughter, has been rescued and raised by an Old Shepherd (Tim Monsion). His son, called the Clown (another winning performance by Will Allan), is a simple-minded lad who, like his father and the entire kingdom of Bohemia, live for the annual revelry of the Sheep Sheering Festival. The kingdom is filled with color and pastoral playfulness. It’s fun and festive, with the townsfolk mesmerized by a pickpocket named Autolycus (a captivating Philip Earl Johnson). King Polixenes and Camillo both attend in disguise, so as to observe the social life of his young son, Florizel (Xavier Bleuel). When he notices that the Prince is becoming too involved with Perdita, whom he believes to be a simple farmer’s daughter, the King attempts to separate them.

When, near the end of the play, we return to the Court of a reborn King Leontes, the two kings become reunited, Perdita is taken in by her father, Florizel is given his father’s blessing to woo his friend’s daughter and a lifelike statue of Queen Hermione mysteriously comes to life. Thus, this “problem” play ends on a happier note than it began, with reconciliation and forgiveness.

While not totally satisfying, there’s much to enjoy and admire in Robert Falls’ production. His adaptation cuts out much of the extraneous plot details and minor characters. The lengthy five-act play has been streamlined into a more contemporary 140-minute two-act production. Falls has kept the story moving, taking appropriate time to focus on the most important events. Walt Spangler’s scenic design, with its glass panels and giant sheep, is spot-on. So are Ana Kuzmanic’s costumes, sometimes dramatic and austere, in other scenes, bright and whimsical. The production is bathed in both sunshine and shadows, thanks to Aaron Spivey’s superior lighting design; and Richard Woodbury’s original music and sound design add depth to the play.

This talented cast is led by Broadway’s Dan Donohue in a mesmerizing performance as Leontes. His fast fall from generous husband, host and friend to a man possessed by the green-eyed monster called jealousy, is masterful. As Donohue’s character sinks further and further into doubt and suspicion, his whole body changes. When, at the end of the play, Leontes repents and returns to become the loving man he once was, his transformation is miraculous. 

Mr. Donohue is matched by many of his supporting cast mates. The multitalented Nathan Hosner, is strong, but so likable as  King Polixenes. He ranks up there, along with Kate Fry, one of Chicago’s finest actresses, as the luminous, heartbreaking Queen Hermione. Christina Clark makes a powerful Paulina, the Queen’s defender and confidant. She easily rouses the audience to applause and cries of “Bravo,” with her impassioned speech where she defends her Queen. And Henry Godinez is admirable and remarkably controlled and commanding as Camillo.

This is a production that will appeal to theatergoers who are already fans of Shakespeare, but enjoy seeing his plays in a new light. It will delight other audiences who are not familiar with this “problem” play because it’s so seldom produced. But with his usual valor and creativity, Robert Falls has adapted the script and directed his production in a way that’s easily accessible to everyone. And, for those trying to save their pennies, remember that in “The Winter’s Tale,” you’re getting two plays for the price of one in this often delightful version of one of the Bard’s romances.

Recommended

Reviewed by Colin Douglas

Presented May 4-June 9 by the Goodman Theatre in their Albert Theatre, 170 North Dearborn, Chicago.

Tickets are available in person at the box office, by calling 312-443-3800 or by going to www.GoodmanTheatre.org/TheWintersTale.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.