Jessica Harris is enchanted by the RSC’s latest.
Often regarded as one of Shakespeare’s problem plays, Yaël Farber’s production of The Winter’s Tale for the RSC works wonderfully. On an emotional level, it digs deep into character motivation. On a sensory level, movement, music and staging combine to provide a theatrical experience that embraces darkness and light, and which merges spectacle with stark reality.
The theme of jealousy, and of how it gnaws at the soul, is central to the plot. One of the reasons the play is seen as problematic is the lack of motivation for this in Shakespeare’s text. Bertie Carvel’s performance of Leontes, King of Sicilia, overcomes this by delivering a character whose unstable psychology needs little to spark his tyrannical jealousy. The merest hint of unfaithfulness by his wife and queen, Hermione, and the slightest suggestion that their newborn daughter might not be his, is enough to provoke his anguish – and his anger.
From the opening scene in which he play-fights with his childhood companion Polixenes, King of Bohemia (John Light), we see a man whose sense of resentment is driven by his unfounded obsession that his friend is having an affair with his wife. His all-consuming rage grows minute by minute before our eyes.
In contrast, a parallel scene shows Hermione, portrayed with sensitivity and dignity by Madeline Appiah, and her women attendants. Their world is one of harmony and joy, and their unequivocal care for one another only accentuates the brewing sense of menace. Of this tribe of women, Paulina, friend to Hermione, is central to the storyline and its eventual reconciliation. Aïcha Kossoko is a huge force on stage in this key role.
Another reason for The Winter’s Tale being seen as problematic is its shift from somber tones in earlier acts to pastoral and comedic tones later in the play. Yaël Farber deals with this by using spectacle to retain a sense of tension throughout and by keeping a lid on the comedic aspects. Trevor Fox’s delivery of the loveable rogue Autolycus, full of trickery and sleight of hand, is dry to the point of understatement.
Whilst the second half is a marked contrast with the emotionally heightened drama which has gone before, it is lifted by dance sequences and by a highly charged love scene between Perdita (Leah Haile) and Florizel (Lewis Bowes).
Music and sound are also used to maintain tension, underpinned by highly effective percussion. A shift to an Eastern European style takes us from Sicily to Bohemia. Movement is beautifully choreographed and strikingly sculptural. Lighting creates mood and marks changes in tone, whilst the lighting of the statue of Hermione is stunning. Simple staging is dominated by a huge globe which spins as time passes, and which is sometimes cast into shadow, sometimes into light, reflecting the actions on stage.
There is a tremendous amount of thought in this production, not least in its plumbing of the human psyche, and how little it can take to trigger the most extreme of responses. See it at the RSC if you can.
A Winter’s Tale was directed by Yaël Farber. Set and costumes were by Soutra Gilmour and lighting by Tim Lutkin. The composer was Max Perryment and sound was by Dan Balfour. Movement was by Imogen Knight.
It is on at the RSC in Stratford until 30th August. For further information visit rsc.org.uk
