“A sad tale’s best for winter:”
Director Natalie-Rose Quatermass transports us to two contrasting worlds in this charming, moving tragicomedy. The cold, stark modern business dress of Sicilia stands proud and stiff among winter-lit castle walls, while the other three seasons combine their warmest vibes to set the scene for Bohemia; a tumbling, skipping, rose-peach scene of music, freedom and feasts. A direct address to the audience implicates us in the potent messages of this ever-relevant script.
Live music and score by Flora Greysteel sets the tone perfectly throughout, adding a layer of richness to Shakespeare’s words that is lacking in so much live theatre today. Ben Prusiner’s delightful set design creates the perfect accompanying visuals; a frigid indoor court for the oppressed Sicilia waiting to out its demons, and the uninhibited comfort of a sunny backyard Bohemia. Keep your eye out for some resourceful bunting. Florence Poskitt’s costume design is also beautifully, subtly complementary to the nuances of the story, with Hermione’s blue velvet night-sky look a particular highlight.
Lovers Florizel (Tom Jennings) and Perdita (Jess Murray) are as heartwarming as Shepherd (Roger Farrington) and Clown (Elizabeth Lockwood) are ridiculous, while Leontes (Paul French) and Polixenes (Nick Jones) form a very sedate, steady pair of grown boyhood friends. French delivers an alarmingly recognisable Leontes; softly-spoken, taut, controlled, with flashes of spitting violence. The cowering anticipation of all around him is tangible. Claire Morley is excellent as always in her clowning conman role of a Britpunk Autolycus, singing and improvising to the audience on an intimate level during the interval, before we see Time’s desperate chorus of a cluttered collective consciousness in turmoil.
In defence of ‘rural latches’
Three characters stood out in this tale of three halves to form a trio of attractive feminist teachers for our modern age. We build from doting wife Hermione (Juliet Waters), who refuses to denounce her love in friendship for a man despite her husband’s palpably violent jealousy, to Camilla (originally Camillo, played by Elizabeth Elsworth) – the committed noblewoman who remains true to her own morals despite her volatile position between a rock and a hard place – to the magnetic Paulina (Maggie Smales), smashing the patriarchy with elegance and eloquence from her first entrance. Her pleasure on hearing that Hermione’s child is a daughter, alongside Antingonus’s (Tony Froud) devotion to her, is a restorative draft to fill anyone’s cup. And then there is her speech on witchcraft, which… until emoji in reviews are a thing, let me simply suggest here that Smales lights several fires in this scene.
This mature cast delivers the kind of nuance to these characters which elucidates avenues we don’t often explore in Shakespeare’s works, and which makes one excited to age as an actor.
More men need to listen to women.
You don’t need more than sound for effective representation of daunting stage directions (let’s be honest, Shakespeare was just trolling us with “Exit, pursued by a bear“), and it is right to focus on the emotions, rather than the gimmicks, in this story.
Women who stand up for themselves, and their true allies, stand to lose something substantial.
“It is an heretic that makes the fire, Not she which burns in’t.”
Catch the show tonight at 7:30pm at John Cooper Studio, 41 Monkgate, York. Tickets available on the door or from York Theatre Royal.
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