AISLE SAY Florida
THE WINTER'S TALE
by William Shakespeare
Directed by Michael Donald Edwards
Asolo Repertory Theatre
Florida State U. Center for the
Performing Arts/Mertz
Theatre
5555 N. Tamiami Tr., Sarasota, (941)
351-8000, www.asolo.org
January 23 to May 16, 2009 (in revolving
rep)
Reviewed by Marie J. Kilker
How miraculous! Not
only the happy
ending of The
WinterÕs Tale. ItÕs also
Director
Michael Donald EdwardsÕ setting it in the 1950s and Ô60s without
falsifying but
rather pointing out the relevance to any age of the drama and comedy in
ShakespeareÕs fairy tale romance. NoTechnicolor movie, not even in
Cinerama,
could wrap around the goings-on better than Clint RamosÕ flexible
moving walls
with often breathtaking projections and lighting by Daniel Scully.
The red
full-skirted-gowned (a-la-Dior)
and black
tuxedoed courtiers of King Leontes (Dan Donohue, with regal bearing)
typify
happy Sicily, where heÕs been entertaining lifelong friend Polixenes
(charming
David Breitbarth). To persuade him to stay longer, the King enlists
help from
wife Hermione (dignified Kris Danford). But seeing his wish being
carried out,
Leontes suffers a jealous attack so acute that he condemns the Queen,
takes son
Mamillius from her, and dispatches cupbearer Camillo to poison
Polixenes. But Camillo (touchingly
portrayed by
Douglas Jones) warns Polixenes, and both flee to his kingdom, Bohemia.
Almost
as soon as it is predicted that Leontes will have no heir until
redemption of
King and kingdom than he learns of MamilliusÕ death.
In prison
Hermione bears a daughter.
Still livid, the
King believes its father is PolixenesÕ.
Thus Leontes orders a servant to abandon the babe on a distant
isle to
fend for itself. What he doesnÕt
learn doesnÕt hurt her: SheÕs found in Bohemia by a Young Shepherd
(funny clown
David Yearta) who abets his father, a kindly Old Shepherd (James
Clarke,
seriously comic), in taking the babe for his own daughter. In the
meantime,
back at the grown-grim palace, Leontes has lost both respect and all
his
friends. His messengers to the Oracle of Apollo return with a
pronouncement of
HermioneÕs innocence. When her companion Paulina (strong, impressive
Mercedes
Herrero) tells Leontes his wife is dead, he becomes a penitent as sorry
as the
mood of his country. Paulina,
though wife of the KingÕs vassal
Antigonous (James Leaming, tending to seem perplexed), devotes herself
to
mourning the Queen and visiting her tomb. If Shakespeare did in fact
write a
famous stage direction, Antigonous is doomed to be pursued, presumably
to
death, by a bear. Leontes, heirless, buries himself in remorse and
penitence.
But, despite a storm at sea that will follow, this ancient sad tale of
winter
promises to give way to a happier modern one.
After
intermission, an elaborate Asolo
space odyssey
leads to a thrilling planetary descent to the stage by a modern Apollo
stagecraft, from which descends Time. Removing his helmet, he looks and
sounds
like Einstein, but with the fairy tale message equivalent of
relativity.
Significantly, Time (reliable Jason Peck) reveals that 16 years have
passed. Florizel, Prince of
Bohemia disguised as a shepherd (Kevin OÕCallaghan, eagerly romantic),
is in
mutual love with Old ShepherdÕs ÒdaughterÓ Perdita (tall, thin Heather
Kelley,
reminiscent of a lively boy who might have played the shepherdess in
ShakespeareÕs time).
What a contrast
is life in pastoral
Bohemia (announced
in a giant Greetings post card) to that in the death-centered old
Sicilian
court! David Zinn and Jacob ClimerÕs flower-filled country costumes not
only
reinforce the sun-bright scene but are appropriate for a musical,
dancing,
romancing gathering of hippies. Onto the sheep-sheering scene, turned
spring
festival, come blanket-bound, beaded, and feathered Polixenes, with
Camillo at
his side, to spy unrecognized on the KingÕs son. A major feature of the
bash is
the rock-singing peddler Autolycus (brash, almost bigger than life
Brent
Bateman). Fresh from his thieving but uproarious ways he drives in via
a
psychedelic-decorated VW bug to wow the peasants, satirizing court
life. It
doesnÕt seem that court would be a welcoming place for Perdita, when
Polixenes
drops his disguise, wanting his son to do the same and not to take a
peasant
seriously.
From here on,
revelation after
revelation follows. The
Kings get together. The Old and Young Shepherd are honored. The young
lovers,
representing a new generation formed of both their families, will too. Since Leontes has atoned for his sins
against Queen and kingdom, Paulina promises to show him a redemptive
work of
art , and a miracle occurs! Its staging is beautiful and a complete
melding of
romanticism and realism. One might also say this of Asolo RepÕs entire
production, along with some terrific comic effects, choreography by
Jimmy
Hoskins, and Sarah PickettÕs sound and original music. All due respect
goes to
Michael Donald Edwards for giving due respect to ShakespeareÕs power
today.
The fine
supporting cast includes Steven
OÕBrien,
Randolph Paulsen, DeMario McGrew, Elizabeth Ahrens, Michael
Trachtenberg, Kip
Taisey, Heather Kopp, and Carolyn Zaput.
Alternating as Mamillius are Austin Abrams and Owen Teague, both
of whom
look as if they could be the sons of Leontes and Hermione. Stage
Manager for
the nearly 3 hour production is Marian Wallace, assisted by Libby
Mickle.
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