An Emotional Whiplash

The Winter’s Tale

An audience member who’s already familiar with William Shakespeare’s Romance, THE WINTER’S TALE, will find a lot to like in Invictus Theatre’s new, powerful production. However, a theatergoer attending this play for first time may experience something akin to an emotional whiplash. That reaction comes from the common perception that this theatrical piece, often labeled as a Problem Play, feels like two very different presentations staged as one production. Just remember, though, that Time heals everything and can often lead to happily ever after.  

In Act I of Artistic Director Charles Askenaizer’s finely-tuned adaptation, the mood is so dark and dramatic that a theatergoer might consider the play a Tragedy. But wait—there’s more to come. After the audience returns from intermission, they’ll discover a very different second act. Suddenly theatergoers are transported to another happier kingdom with a lovely, pastoral setting. Whereas Act I was cold, bleakly-lit and costumed primarily in somber colors, Act II is lighthearted, raucous and radiates with the warmth of a colorful kaleidoscope. However, lest the theatergoer gives in to the enjoyment of all this bawdy humor in a Dionysian orgy of music and revelry, the play returns to its original lugubrious locale. The final scene is once again dark and melancholy, but eventually illuminated with hope, represented by a stage filled with dozens of flickering candles. Thankfully, the play ends in a scene that’s both redemptive and happy.

When first published in the 1623 First Folio, Shakespeare’s original five-act play was grouped together with his Comedies. Later, however, this Problem Play, as it’s been called, was lumped in with the Bard’s later Romances, along with CYMBELINE, PERICLES and THE TEMPEST. 

It should be remembered that Shakespeare drew inspiration for many of his characters, plots and settings from Greek and Roman mythology. This play is no exception. The story tells of a riff between King Leontes (talented Michael Stejskal, in his Invictus debut) and King Polixenes (the excellent Raul Alonso, also appearing with this company for the first time) who had been close friends since childhood. With little provocation, jealousy suddenly consumes Leontes, and he accuses his wife, Queen Hermione (remembered from the company’s Jeff Award-winning production of WHO’S AFRAID OF VIRGINIA WOOLF), now pregnant with his second child, of treason and adultery with his bosom buddy. He claims that the baby on its way is actually Polixenes’ but, just to be certain, King Leontes sends his counselors to consult the Oracle for the truth.

The Oracle doesn’t support the King’s suspicions, yet he still arrests his Queen, tries her for adultery and orders that his friend be put to death. Despite the pleading made by Paulina, the Queen’s dearest friend (played by magnificent Amber Dow), Hermione’s newborn baby girl is ordered to be taken away and left to die. Ultimately, both Hermione and Leontes’ young son, Mamillius, die of grief and shame. But Polixenes is warned to flee the country by Leontes’ servant, Camillo (nicely portrayed by Kim Pereira). The two men then set sail for Polixenes’ home in Bohemia, a bucolic country primarily known for its sheep.

When we rejoin the play in Act II, sixteen years have passed. Leontes’ abandoned daughter, Perdita (Jennifer Agather, who also plays young Mamillius), has been rescued and raised by an old Shepherd (talented ensemble member, Chuck Munro). His son, nicknamed the Clown (in a winning performance by Kyle Quinlivan), is a simple-minded lad who, like his father and the entire kingdom of Bohemia, live for the annual Sheep Sheering Celebration. The kingdom is filled with light, color and pastoral playfulness. During the fun and festivities the townsfolk become mesmerized by a skilled pickpocket named Autolycus (a wonderfully gifted and captivating Sam Nachison). Disguised, both King Polixenes and Camillo attend the Festival to observe the social life of his young son, Prince Florizel (Robert Hunter Bry, another newcomer to Invictus Theatre). 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.

After the play shifts again back to the Court of King Leontes, we find that Time (eloquently personified by George Dougherty) has healed the once jealous and suspicious monarch. Polixenes is forgiven and reunites with his longtime friend, Perdita is taken in by her loving father, Prince Florizel is given his father’s blessing to marry his friend’s daughter and a lifelike statue of Queen Hermione—created by Paulina—miraculously comes to life. Thus, this Problem Play ends on a much happier note than when it began, with a solution of reconciliation and forgiveness.

While some of the cast is, at times, less comfortable with their Elizabethan line delivery, there’s still much to enjoy and admire in Charles Askenaizer’s ambitious production. His adaptation nicely streamlines the production by eliminating some unnecessary details and minor characters. The lengthy five-act play has been reworked into two acts, in a more digestible 

2-hour-and-45-minute production. As Director, Mr. Askenaizer has kept the story moving, allowing appropriate time to focus on the most important events. And this production introduces a number of promising, exceptionally talented new actors to the Invictus Theatre Company.  

The technical team radiates with artistry. Kevin M. Rolf’s Scenic Design is classical and almost immersive, bringing the play up close and personal to the audience. Trey Brazeal’s Lighting is appropriately cool and dramatic in Act I, while it radiates warmth and sunlight in Act II, returning once again to King Leontes’ darker Kingdom for the redemption. A myriad of Costumes, Designed by Jessie Gowens, are contemporary, yet with a nod to the ancient Greek Myths. Her wardrobe for the Festival scenes are rustic, bright and whimsical, reminding audiences of the musical, HAIR. And Petter Wahlback’s Sound and Original Musical Compositions, played live, add depth and another dimension to this extravagant production.

Invictus Theatre Company’s latest offering will appeal to audiences who are already fans of Shakespeare, but enjoy seeing his plays in a new and different light. This presentation will no doubt delight other theatergoers who are not familiar with this Problem Play, mainly because it’s so involving and seldom produced. But Charles Askenaizer, the Artistic Director of Invictus Theatre, has adapted the script and directed his production so that it’s accessible to everyone. Any production of Shakespeare’s THE WINTER’S TALE is like seeing two plays for the price of one. Just understand ahead of time that the contrast between Acts I and II may give the theatergoer an episode of emotional whiplash. But also know that this play, that’s both dramatic and humorous, is one of the Bard’s best-loved Romances, and that it will ultimately end happily ever after.

Highly Recommended

Reviewed by Colin Douglas

Presented March 11-April 20 by Invictus Theatre Company at Windy City Playhouse, 3014 W. Irving Park Road.

Tickets are available at the door or by going to www.invictustheatreco.com.

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