Director Edward Hall ushers in a new era at the Chicago Shakespeare Theater with his production of “The Winter’s Tale.” This initiative aims to establish a Chicago-based repertory company where actors work on multiple plays concurrently. This development offers continuous work for well-regarded Chicago actors during the fall and early winter seasons.
The production of “The Winter’s Tale” opened on Sunday afternoon but resumes performances only by Friday night. During the interim, the cast rehearses “A Midsummer Night’s Dream,” slated for a November 15 opening. Both plays will then rotate in repertory. Late November presents theatergoers with the chance to see both plays within a single day, following a practice that mirrors the approach of the Stratford Festival in Canada.
While it may be prudent to wait for the full repertory experience before issuing a final judgment, the current staging of “The Winter’s Tale” shows pockets of strength. Powerful performances and captivating staging punctuate the production. However, the emotional depth, quintessential to the play, feels uneven. Previous iterations of the work have evoked profound sorrow, a reaction not fully realized in this version.
Among Shakespeare’s late romances, “The Winter’s Tale” explores themes of redemption from grave errors and reconciliations with lost loved ones. The narrative pivots on an impulsive and unjustified accusation of infidelity by King Leontes of Sicilia, a role portrayed by Demetrios Troy. Without a manipulative figure akin to Iago from “Othello,” Leontes’ jealousy ruins several lives.
The universe, however, grants him a potential atonement. Yet, this iteration seems to miss conveying the bittersweet nature of its climax.
Leontes’s jealousy over his wife Hermione’s relationship with the King of Bohemia jeopardizes his family. The role of Hermione is played by Jessica Dean Turner, while Chiké Johnson assumes the role of the King of Bohemia. The consequences impact their children, including daughter Perdita and son Mamillius, both roles performed by Felicia Oduh.
A notable directorial choice entails casting the same actor for both children, which blunts the emotional complexity of the final scene. The reluctance to offer Leontes redemption further distances this performance from the intended grace of Shakespeare’s narrative. The mysticism and uncertainty that often bring salvation are not fully realized.
Despite this, the early scenes excel. The portrayal of Leontes’ false accusations against Hermione depicts court politics vividly. The actors, including Kevin Gudahl, Sean Fortunato, and Erik Hellman, portray courtiers caught between fear and morality. These scenes reflect real-world political dilemmas where courage is scarce.
Among the cast, Issy Van Randwyck stands out as Paulina. Her resolute performance provides a moral compass in the narrative. The play also introduces comical scenes, imagining a free-spirited Bohemia with a unique hippie vibe. An energetic portrayal by Fortunato adds a rock music twist to the theatrics.
While the production is filled with visually stunning elements and the language of Shakespeare rings clear, the heart of the story deserves more focus. The famous stage direction “Exit, pursued by a bear,” is skillfully rendered. Audience reactions indicate enjoyment, yet the play’s deeper emotional stakes await full realization.
“The Winter’s Tale” runs until December 12 at the Courtyard Theater at Navy Pier, with tickets available for purchase.