By Liz Eichler
UC College Conservatory of Music’s (CCM Acting Program) The Winter’s Tale is a beautifully designed and well-directed theatrical production. Neither a tragedy nor a romance, William Shakespeare’s play doesn’t fit neatly into any genre, so director Susan Felder leans into its fairy tale qualities. The first act features an unbridled villain and includes some scary parts, but there are some comical characters who lighten the mood, a wise wizard or witch-like woman, and most of them live happily ever after.
THE PLOT
Simply put, the story focuses on King Leontes of Sicilia who becomes increasingly agitated, paranoid that his wife is unfaithful, and accuses her of having an affair with his best friend, King Polixenes of Bohemia. He approaches her with “Not joy” and sentences her to prison for the transgressions he believes (though she is heavy with child).
Leontes then orders his friend and advisor, Lord Camillo, to poison Polixenes, but Camillo instead warns Polixenes and they flee the country. Although she is declared chaste by an oracle at her trial, Queen Hermione dies of shock and sorrow. Her newborn daughter Perdita, is banished in a basket to a desolate island, where she is found and raised by shepherds.
Act Two opens and Perdita, now 16, falls in love with Prince Florizel, and he her. However, his father, King Polixenes, forbids their union when he discovers his son wants to marry a “shepherd girl.” So the lovers flee–to Sicilia (of course) with Camillo’s help.
Prince Florizel is welcomed by King Leontes, now a contrite and reformed man. Through a series of conversations by the servants, it is revealed that Perdita is Leonte’s long lost daughter, as the shepherds (and Polixenes) who follow the young couple, share a box of belongings found in her baby basket clearly connecting her to Hermione. All is well, and together they joyfully admire a “statue” of Hermione, created by the advisor Paulina. The statue comes to life and everyone is reconciled–and forgiven.
By Mark Lyons Lyons Photography, Inc.THE THEMES
Director Felder has set the play in Victorian and Edwardian times, a “far off time” for a modern audience. Based on the beautiful clothing and flown in scenery, you will make connections with fairy tales of your youth: Anastasia, Chitty Chitty Bang Bang, Mary Poppins, Frozen, and more. This time period ties in perfectly with the interest in the occult, Gothic arches, and the rising power of women’s rights. This iteration really works.
One of the scariest messages of the play is how a person with absolute power can dictate horrific behavior absolutely–and goad others to drop their own moral compass. The audience reacts in horror at Leontes’ unraveling and tantrums. Politics, eh?
At the end of the first act there is some levity, as the shepherd finds the “wee bairn.” Hope is sown. For sixteen years advisor Paulina ensures Leontes repents his actions. Forgiveness is granted. Does he deserve to be forgiven by Hermione? This show leans into yes, people can atone for their actions and be reformed.
THE CONCEPT & DESIGN
Again, the time period is beautiful and really works. The bleak midwinter trees are designed (Regan Densmore) to overshadow Act One, and with some tricks of lighting and flying in leaves, they burst into blossom. Lighting (Jules Cabrera) has many star moments, and makes great use of fog to thicken the atmosphere. The second act is clearly a brighter spring including a merry maypole dance (Susan Moser, Choreography and Intimacy Coordinator).
Part of this time period requires a focus on beards and hairstyles, (Claire Bonnette) and the beard game is strong. Great use of furs, silhouettes, and shoes by the costume team (Cassidy Kempthorne). There is lovely clothing in both acts.
By Mark Lyons Lyons Photography, Inc.Kudos to the puppet team, for creating the best bear and moment for this show’s most famous stage direction: “Exeunt, pursued by a bear.” Love the little bear touches throughout.
THE PERFORMANCES
Felder ensures these students understand and elevate the work in body, mind and spirit. Great articulation in most, strong presence, and mastery of the language shows the depth of CCM’s Acting program.
These performers are fully in the world of the play, and make the show very current. King Leontes (Brandon Cook) becomes believably unhinged, his insecurities grow and he commands unthinkable acts, making his role really part of a horror story. Polixenes (Evan Kupersmith) and Hermione (Jordyn Hill) show a strong friendship and incredible strength as royals. Kudos to Felder and the Intimacy Coordinator here, as they touch and Leontes reacts, and they touch again, it is very strong support to kindle Leontes’ concerns of her fidelity. Their scenes also include young Prince Mamillius (Dinitihi Fernando) frolicking in the snow.
By Mark Lyons Lyons Photography, Inc.Paulina (Cassandra Reeves) delivers a memorable performance, unusual for a woman to be so central to the plot. She has the cajones to live up to her reputation as a witch (aka a strong, intelligent woman who calls it as she sees it). Camillo (Gavin Elbert) is both friendly and craven, trying to be a good person throughout.
In the next act, the characters push the show into comedy. The Shepherd (strong age work by Dash Green), his son the Clown (Adrian Graff), and the opportunist Autolycus (Bryce Nevison) all turn the audience frowns upside down. Kenny Rayborn (Perdita), Gavin Duffy (Florizel), Sophie Stockton, Alaya Rhett, Mallory Bolser, Victor Brame, Patrick Comunale, Sam Hopper, Kathuure Miriti, and Katie Reeser fill the cast admirably.
OVERALL
Overall, CCM Acting’s production of William Shakespeare’s The Winter’s Tale is solid, well paced, scary and joyful. Director Felder leans into the fairytale concept, and it is a great retelling of the story. The Winters Tale ran October 3-5, 2024 in the Patricia Corbett Theatre.
COMING UP NEXT at CCM
Coming up next on October 10-19 is IN THE GREEN produced by CCM Musical Theatre. This powerful new musical is by singer-songwriter Grace McLean. (McLean is known for originating the role of Marya in Natasha, Pierre, and the Great Comet of 1812.) IN THE GREEN gives a background story to Hildegard von Bingen, a German abyss who lived around 1089-1179. Hildegard was an extraordinary composer, writer and activist–and Doctor of the Church.
