American Players Theatre’s “The Winter’s Tale,” with ensemble/Photo: American Players Theatre
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The word “grace” appears sixteen times in William Shakespeare’s “The Winter’s Tale.” Depending on the context, it can mean both gift and forgiveness. It’s a necessary balm in a cruel world.
And this world is terribly cruel. In the first part of “The Winter’s Tale,” a pregnant queen is accused unjustly of adultery by her mad, tyrannous king. Their newborn daughter is left in the wilderness to die. It doesn’t seem possible to come back from this deep sadness.
But life, hope and humor do come back, though it takes sixteen years. In this new and marvelous production at American Players Theatre, directed by Shana Cooper, “The Winter’s Tale” shows how time and grace can heal what seems irreparable.
The play begins in the Sicilian court of King Leontes (Nate Burger) and Queen Hermione (Laura Rook). They are hosting Leontes’ childhood best friend, Polixenes, the king of Bohemia (La Shawn Banks). In the first scene, the kings horse around like overgrown frat boys. It shows their affection, and foreshadows that these powerful men have some growing up to do.
Leontes asks Hermione to convince his friend to stay longer. When she succeeds, Leontes becomes suspicious. He believes that his beloved queen is a “bed swerver,” pregnant with Polixenes’ child. Leontes commands his servant, Camillo (Gavin Lawrence) to poison his friend, but Camillo instead warns Polixenes, and together they escape to Bohemia. Leontes has Hermione imprisoned, devastating their young son, Mamillius (played in alternating performances by Elijah and Lillian Quigley). When Hermione gives birth, Leontes orders that the infant be abandoned in the wild.
Some critics have complained that Leontes’ behavior is not credible, but those familiar with domestic violence know otherwise. Burger is terrific at showing the transition, going from a bro-y good humor to sweaty madness.
With Camillo gone, the only one in court willing to challenge the tyrant is Paulina, the play’s hero and the prime mover of redeeming action. Mighty as justice in a flaming red dress, Dee Dee Batteast takes on one of Shakespeare’s greatest female roles as though she wrote it herself. She shoots fire, warning off Leontes’ men with “Let him that makes but trifles of his eyes/First hand me,” before making the case that the baby is indeed Leontes’ child. Batteast shows both Paulina’s rationality and righteous fury, and when she exits the opening night audience broke into spontaneous applause.
American Players Theatre’s “The Winter’s Tale,” with ensemble/Photo: American Players Theatre
This play has not one, but two, magnificent female roles, and Laura Rook also shines as the queen. Her speech declaring her innocence at trial was heartbreaking. When she hears of her child’s loss, the strength is knocked out of her, and she collapses like a rag doll.
“The Winter’s Tale” contains theater’s most famous stage direction: “exit pursued by a bear.” I won’t give away how it’s done, but it definitely satisfied, especially with the real-life distant lightning flickering behind the stage.
In the second half, the play becomes a comedy and a romance, with dancing and singing led by Nathan Barlow. Longtime American Players company member Marcus Truschinski plays the rogue Autolycus with great trickster energy, taking everyone’s money while also helping to make a happy ending.
There were no weak performers in this ensemble, so it’s difficult to choose whom to spotlight. As Camillo, Lawrence was appropriately grave, but twinkled when he met Molly Martinez-Collins’ lovely Perdita. David Daniel and Josh Krause are both hilarious as the old shepherd and his son.
Unfortunately, the opening-night performance was halted before the end scene because of heavy rain and lightning. This is a hazard at outdoor performances. I decided to review the play anyway, since it was almost over, I know how it ends, and it was too good not to praise. If an APT play gets rained out after intermission, you can get a ticket for another show.
One of Shakespeare’s late romances, “The Winter’s Tale” is considered a “problem play” because it’s a mix of comedy and tragedy. It has not been one of Shakespeare’s most popular works. But it has seen a resurgence lately, with a fine spring production at Invictus Theatre in Chicago, as well as current productions at Canada’s Stratford Festival and England’s Royal Shakespeare Theatre. Perhaps modern audiences are more comfortable with mixing comedy and tragedy, as seen by the popularity of the television series “The Bear.” And perhaps they like the idea that eventually, with the help of brave people like Camillo and Paulina, tyranny can be overcome, and its harms healed.
American Players Theatre’s “The Winter’s Tale” runs through October 4 at the Hill Theatre, 5950 Golf Course Road, Spring Green, Wisconsin.
