On what unfolded as the busiest day of the year for me thus far, I found myself traipsing through the rustic backwoods of the Angeles National Forest in the morning, a landscape so chilly and peaceful that one could easily forget the thrum of the city. By the afternoon, the tranquility was replaced with the sizzle and spice of Korean cuisine, shared with friends who insisted on toasting to another year of my journey around the sun—a belated birthday celebration that had my taste buds dancing. And as the day's light waned, the festivities culminated with a cultural dessert: a trip to Antaeus Theatre in Glendale, where the evening promised a shift from the day's physical exertions to the intellectual stimulation of Shakespeare's "The Winter's Tale." There I sat, in the cozy embrace of the theater, ready to be whisked from the LA sprawl to the courts and countrysides of Sicilia and Bohemia, a fitting capstone to a day of varied delights.
First, Analysis
"The Winter's Tale" is a play that is unique for its blend of tragedy and comedy, making it difficult to classify within a single genre. The play is often labeled as one of Shakespeare’s late romances or problem plays. Its narrative divides into two sharply contrasting halves, set in different geographical and emotional landscapes, and combines elements of tragedy, comedy, and the pastoral.
The play starts in Sicily, where King Leontes suddenly becomes consumed with jealousy, wrongly believing that his pregnant wife, Hermione, has been having an affair with his childhood friend Polixenes, the King of Bohemia. Leontes orders Polixenes to be killed, but he escapes. Hermione is put on trial for adultery; she gives birth to a daughter, Perdita, who Leontes orders to be abandoned. The stress causes the death of Leontes' son, Mamillius, and Hermione collapses and is reported dead. Perdita is raised by a shepherd in Bohemia, growing up to fall in love with Polixenes' son, Florizel. The final act returns to Sicily, where truths are unveiled, families are reunited, and the play concludes with forgiveness and reconciliation.
Leontes’ irrational jealousy drives the tragic events of the first half, while his subsequent remorse and the passage of time lead to redemption.
Time, as both destroyer and healer, plays a crucial role. The play covers a span of 16 years, allowing for characters to evolve and for past wrongs to be righted. The play uniquely personifies Time as a character who introduces the second half of the play, highlighting the theme of time’s passage and its effects.
The Statue Scene
One of the most famous scenes in "The Winter's Tale"1 is the final scene where Hermione’s statue comes to life. This scene is often discussed for its dramatic impact and symbolic significance. I recalled discussing it in one of my many art history classes at UCLA.2 In Act V, Scene 3, the play reaches its emotional and narrative climax, centering on the 'resurrection' of Hermione, who has been presumed dead for most of the play.
After enduring years of remorse for his actions against his wife, Hermione, and their daughter, Perdita, Leontes, the King of Sicily, is presented with the opportunity for a form of redemption. Perdita, who was abandoned as a baby upon Leontes' orders but survived and thrived in Bohemia, has been reunited with her father. Polixenes, the King of Bohemia, and other characters also converge in Sicily for this final scene, creating a setting ripe for reconciliation and renewal.
Paulina, a noblewoman and loyal friend to Hermione, leads Leontes and others to a chapel where a statue of Hermione is displayed. This statue is remarkably lifelike, capturing Hermione's beauty and grace in a way that astonishes everyone, especially Leontes, who is overwhelmed with grief and longing.
Paulina instructs those present to prepare themselves emotionally for what they are about to witness, then commands the statue to come down from its pedestal. As music plays softly, the 'statue'—which is actually Hermione herself, having been secretly alive and in hiding for sixteen years—begins to move, stepping down to embrace her husband and daughter.
Interpretations and Significance
This scene is rich with thematic depth and has been subject to various interpretations. Some view the scene as an example of magical realism, where the supernatural is presented in a matter-of-fact manner. Hermione's return from the 'dead' can be seen as a literal miracle, symbolizing forgiveness and the possibility of rebirth.
Shakespeare challenges the audience to suspend disbelief and embrace the scene's emotional truth over its literal improbability. This act of faith mirrors the characters' own journeys towards understanding and acceptance.
The scene's emotional impact is heightened by its theatricality and the use of dramatic irony, as the audience is aware of Paulina's plan while the characters are not. The "statue" scene serves as a cathartic resolution to the play's tragic elements, transitioning into a hopeful conclusion that reaffirms the values of love, forgiveness, and the redemptive power of time.
The question of where Hermione has been for the 16 years between her supposed death and the final scene is not explicitly answered in the text. Shakespeare leaves this aspect of the story somewhat ambiguous, leading to different interpretations among scholars and directors. However, the most common interpretation, based on the text and its staging, is that Hermione has been in hiding under the care of Paulina, a loyal friend and noblewoman who has steadfastly defended her honor and worked to protect her.
Paulina, who plays a crucial role in revealing Hermione to Leontes and others as a "statue," is seen by many as the guardian of Hermione’s secret survival. This interpretation suggests that Paulina orchestrated the plan to keep Hermione hidden until the time was right for a reunion, ensuring Hermione's safety and orchestrating a form of penance for Leontes by allowing him to believe his wife was dead due to his unfounded jealousy and tyranny.
The ambiguity surrounding Hermione's absence allows for a range of interpretations in stage productions, with some choosing to emphasize the magical elements of the story, while others may suggest a more practical conspiracy to protect Hermione and engineer a moment of profound reconciliation and forgiveness. This lack of specificity adds to the play's enduring fascination and its capacity to inspire diverse and imaginative theatrical interpretations.
The Title
The title "The Winter's Tale" is somewhat enigmatic and has been the subject of various interpretations. Unlike many of Shakespeare's plays, the title does not directly describe the plot or the main characters but instead evokes a particular mood and thematic resonance. The play features strong contrasts between the cold, harsh realities of jealousy and injustice (associated with winter) and the warmth of forgiveness and reconciliation (associated with spring). The first part of the play, set in Sicily, is marked by the bleakness of Leontes' unfounded jealousy and its tragic consequences, fitting the desolation often associated with winter. The latter part of the play, set in the pastoral warmth of Bohemia, celebrates renewal, love, and rebirth, akin to the thawing of winter into spring. The title might thus reflect the thematic journey from the "winter" of human despair to the "spring" of hope and regeneration.
Alternatively, in Elizabethan England, "a winter's tale" was a term used to describe a story told around the fire during winter—an entertaining, often fantastical story meant to amuse listeners during the long, cold nights. Shakespeare's play, with its mix of dramatic realism, pastoral romance, and magical elements (like the statue coming to life), fits well into this tradition of storytelling that blends the mundane with the miraculous. The title might suggest that the play is an ideal story to be shared in a communal setting, invoking a sense of wonder and moral reflection.
"The Winter's Tale" at Antaeus Theatre
Antaeus Theatre's “The Winter's Tale” provides a multi-layered rendition of this most enigmatic play. This production, directed by Elizabeth Swain with a clear reverence for the text, is both a traditional and innovative approach to a play known for its challenging blend of genres.
Standout Performances
Kaci Hamilton's portrayal of Hermione is a poignant highlight, with her dignified grace becoming a focal point for the play’s themes of jealousy and redemption. The casting choice here is particularly inspired—Hamilton's African heritage adds a compelling layer to Leontes' jealousy, suggesting a racial undertone that modern audiences might find both relevant and provocative. More on that, later…
Ann Noble brings a robust classical performance as Paulina, whose moral fortitude anchors the play's emotional compass. Her stage presence was magnetic, drawing the audience into every scene she graced. Though, I wonder if there may’ve been more nuanced subtexts she could have explored…
The major talent in the production, as mentioned, was J.D. Cullum, whose mid-20th-century style, humor, and voice brought a unique flavor to the roles of Autolycus. Cullum's ability to channel a vintage aura and wit enriched the play's comedic elements, making the lighter scenes particularly memorable for the audience.
Directing Choices
While the cast's delivery is articulate and the intent behind each line is clear, there's a tendency across the board to illustrate the text rather than inhabit it. The actors often indicate emotions and subtext with conspicuous mannerisms, which, while elucidating the language, can detract from the authenticity of the characters. This is a common hurdle in contemporary classical theatre, where the inclination is to ensure comprehension over subtlety.
The Antaeus Theatre's production of "The Winter's Tale" presents an intriguing casting choice with Kaci Hamilton, a woman of (seemingly) African genetic heritage, in the role of Hermione. Normally, I wouldn't comment on an actor's heritage in relation to casting, accept that the driving element of the plot has to do with genetic birth and paternity.
This decision adds a layer of complexity to King Leontes' jealousy. The racial dimension could suggest that Leontes' unfounded doubts about Hermione's fidelity are exacerbated by societal prejudices, offering a contemporary twist to Shakespeare's exploration of jealousy and its destructive consequences. Hamilton's grace in the role underscored Hermione's nobility and the injustice of her plight, making her performance a standout.
Final Impressions
The ensemble of actors at Antaeus Theatre's "The Winter's Tale" displayed a commendable effort in conveying the richness in Shakespeare's characters. However, the performances occasionally leaned towards a more demonstrative style, with the actors emphasizing the language through overt mannerisms and vocal inflection. This approach, while clearly articulating the text, sometimes overshadowed the naturalism that can make Shakespeare's characters feel truly lifelike and relatable.
This tendency to 'indicate' rather than embody the text is not uncommon in modern renditions of classical plays. Contemporary actors often grapple with the challenge of making the Elizabethan language accessible and expressive to today's audiences. The heightened diction and complex syntax of Shakespeare's work can tempt actors to use additional physicality and emphasis to ensure the audience grasps the meaning.
Yet, there is a delicate balance to strike between elucidating the text and maintaining the authenticity of performance. When the language is allowed to speak for itself, supported by sincere and grounded acting, it often resonates more deeply with the audience. This less is more approach can be particularly effective in classical theatre, as it trusts the power of Shakespeare's words and the subtleties of the actors' performances to convey the story's emotional and thematic nuances.
Antaeus Theatre's "The Winter's Tale" is a valiant exploration of Shakespeare's intricate narrative. The production is a testament to the actors’ and directors' commitment to classical material, even as they navigate its inherent challenges within a contemporary context. While the quest for naturalism in performance remains an ongoing journey, this production underscores the timeless allure of Shakespeare’s works and their capacity to engage and provoke thought across the ages.
My first encounter with this play was when someone told me that there was a play by Shakespeare wherein a statue comes to life. At the time (mid 90s), I was learning more and more about medeival and classical European and West Asian alchemical and metaphysical movements. The literature and the notion of statues becoming animated was some of the weirdest and most occulted of the dark arts, as I had read about them.
I also recalled that the play contains the famous stage direction "Exit, pursued by a bear,". 😆 Right? It occurs when Antigonus is chased off-stage…by a bear, leading to his death. The inclusion of a bear chase in the play might reflect Shakespeare's contemporary London, where bear-baiting was a popular form of entertainment.