The Winter's Tale
The Dixon Studio, The Palace Theatre, Southend-on-Sea
19th-23rd April 2016
The Dixon Studio, The Palace Theatre, Southend-on-Sea
19th-23rd April 2016
Scott Roche/Leontes
WINTRY? Wintry! One thing for sure about Southend Shakespeare Company's lovely production of The Winter's Tale is that it is full of - indeed positively erupts with - the joys of spring.
Like other mellow plays written in the Bard's late-life period, Winter's Tale is a story of healing and reconciliation. The older generation may have screwed things up, but hope emerges in the new generation. Young love spells new hope. It is all summed up in the beautiful line: “Now bless thyself: thou met with things dying, I with things newborn.”
The play can be a challenging one to stage, thanks to its extremes of darkness and light, but director James Carter does a masterly job, largely by ramping up the music and the comedy. The production is further boosted, indeed rocket powered, by an absolutely brilliant, permanently memorable comic performance from Tim Cater as the rogue Autolycus (a character who is the prototype for Del Boy Trotter, Arthur Daley, and Private Walker).
Nor is anyone ever likely to forget the wickedly funny Morris dance, performed by a line-up of dirty old lollipop men and bearded women. The musical numbers are backed by the production's very own folk band, the Bohemian Boys, who deserve an independent life of their own when the week's run of Winter's Tale is over.
Yet you cannot get away from the darkness in this story. It begins with a king, Leontes, who suddenly goes mad, driven by a crazed delusion that his wife is having an affair with his best friend, Polixenes, king of Bohemia. Leontes destroys his loving wife Hermione, and arranges for his new-born daughter to be dumped in the wilderness.
Like other mellow plays written in the Bard's late-life period, Winter's Tale is a story of healing and reconciliation. The older generation may have screwed things up, but hope emerges in the new generation. Young love spells new hope. It is all summed up in the beautiful line: “Now bless thyself: thou met with things dying, I with things newborn.”
The play can be a challenging one to stage, thanks to its extremes of darkness and light, but director James Carter does a masterly job, largely by ramping up the music and the comedy. The production is further boosted, indeed rocket powered, by an absolutely brilliant, permanently memorable comic performance from Tim Cater as the rogue Autolycus (a character who is the prototype for Del Boy Trotter, Arthur Daley, and Private Walker).
Nor is anyone ever likely to forget the wickedly funny Morris dance, performed by a line-up of dirty old lollipop men and bearded women. The musical numbers are backed by the production's very own folk band, the Bohemian Boys, who deserve an independent life of their own when the week's run of Winter's Tale is over.
Yet you cannot get away from the darkness in this story. It begins with a king, Leontes, who suddenly goes mad, driven by a crazed delusion that his wife is having an affair with his best friend, Polixenes, king of Bohemia. Leontes destroys his loving wife Hermione, and arranges for his new-born daughter to be dumped in the wilderness.
Somehow, Scott Roche, always a powerful stage presence, contrives to make this wretched figure both sympathetic and convincing. Then comes the death of Antigonus, who is eaten by a bear while dumping the baby girl (“Exit, pursued by bear” is the famous stage direction). This scene is frequently played as panto, but here is more like something out of a horror movie.
After that, though, it all lightens up. The new mood is signalled by the entry of a cow, Doris (the only wooden performance of the night, but then she is mounted on wheels). Two shepherds (John Newell and David Hannington, in a great double act) find the baby, christen her Perdita, and resolve to raise the girl as their own. Doris, now forgotten, gets left behind for the audience to look after.
Sixteen years pass, and we are thrown into the midst of a country festival, presided over by Perdita, now an exquisite floral maiden. She is most prettily played by Sarah Swain with an accent that would sweep the board at any audition for The Archers. Perdita is dating a handsome young stranger, who is really Floriziel, Polixenes' son. So the stage is set for the next generation to heal the scars of the past.
The whole extended country festival is one of the great set pieces in Shakespeare. It is drenched in laughter, joie de vive, and glorious language. Autolycus stalks the proceedings, conning the country folk on an industrial scale – although every now and then he interrupts his con artistry to lead the Bohemia Boys in a song. Two feuding, sexy shepherdesses, saucily played by Amy Wilson and Ali Graves, compete for the menfolk and the microphone. All these delights are delivered by a cast who are clearly having the time of their life. Me too. In the week leading up to the Bard's 400th anniversary, this production is the perfect gift from Essex to Shakespeare. Let's hope Will is duly grateful.
After that, though, it all lightens up. The new mood is signalled by the entry of a cow, Doris (the only wooden performance of the night, but then she is mounted on wheels). Two shepherds (John Newell and David Hannington, in a great double act) find the baby, christen her Perdita, and resolve to raise the girl as their own. Doris, now forgotten, gets left behind for the audience to look after.
Sixteen years pass, and we are thrown into the midst of a country festival, presided over by Perdita, now an exquisite floral maiden. She is most prettily played by Sarah Swain with an accent that would sweep the board at any audition for The Archers. Perdita is dating a handsome young stranger, who is really Floriziel, Polixenes' son. So the stage is set for the next generation to heal the scars of the past.
The whole extended country festival is one of the great set pieces in Shakespeare. It is drenched in laughter, joie de vive, and glorious language. Autolycus stalks the proceedings, conning the country folk on an industrial scale – although every now and then he interrupts his con artistry to lead the Bohemia Boys in a song. Two feuding, sexy shepherdesses, saucily played by Amy Wilson and Ali Graves, compete for the menfolk and the microphone. All these delights are delivered by a cast who are clearly having the time of their life. Me too. In the week leading up to the Bard's 400th anniversary, this production is the perfect gift from Essex to Shakespeare. Let's hope Will is duly grateful.
By Tom King
Wednesday and Friday night are almost sold out now but please check availability on the day as some seats may be released at short notice
Tickets can be purchased online at www.southendtheatres.org.uk or call the box office on 01702 351135
Tickets can be purchased online at www.southendtheatres.org.uk or call the box office on 01702 351135
The Bohemia Boys