Antoni Cimolino's well-acted Winter's Tale wrestles with oddities in Shakespeare's script

Globe and Mail

3 days ago

Title: The Winter's Tale
Written by: William Shakespeare
Performed by: Graham Abbey, Yanna McIntosh, Sara Topham, Austin Eckert, Tom McCamus, Marissa Orjalo, Tom Rooney, André Sills
Director: Antoni Cimolino
Company: Stratford Festival
Venue: Tom Patterson Theatre
City: Stratford
Year: Until Sep. 27, 2025
'A sad tale's best for winter,' little Mamillius tells his mother when she asks for a story. As if spoken into existence, the events that follow are very sad indeed, with disastrous implications for Mamillius (Philip Myers on opening night of The Winter's Tale), his mother (Sara Topham) and his sister (Marissa Orjalo).
When we next see the tiny prince, it's as a memory – a tiny child forever playing in a starlit afterlife.
Oft-considered one of Shakespeare's 'problem plays' for its odd structure, The Winter's Tale begins with one of the Bard's more twisted psychological tests: King Leontes (a superb Graham Abbey), out of his mind with doomy rage, accuses his pregnant wife Hermione (Topham) of infidelity with King Polixenes (André Sills). When she denies the accusations, the play turns tragic: Her newborn daughter Perdita (Orjalo) is exiled to the coast of Bohemia, while the mother and her toddling son die of heartbreak.
The play, so very dark in its first half, is a brooder that, for a while, rivals King Lear or Romeo and Juliet. But after intermission, the work mutates into a pastoral comedy with a decidedly light ending, and in Stratford Festival artistic director Antoni Cimolino's production, those halves never bind together in a way that makes for a satisfying story.
Down the street at the Festival Theatre, Chris Abraham helms a pastoral comedy with similarly disparate acts. But in As You Like It, Abraham interrogates the relationship between the genre's form and its content in a way that feels intentional and bold; here, the fault lines in Shakespeare's dramatic structure are left to echo.
Cimolino leans hard into each tonal shift – the shimmer of early childhood, the draconian gloom of Leontes's court, the Midsommar-esque merriment of Perdita's newfound clan – and often the production is enjoyable. But the momentum of the first act, led by Abbey in a tour de force performance as the tortured king, fizzles out by the time we get to know Perdita and her adoptive family.
And once Perdita's surrogate father (played by Tom McCamus) steps aside for his daughter to rediscover her noble heritage, the play is all but over – an 'all's well that ends well' predicated upon, among other things, a sentient statue.
Oddities in the play's dramaturgy aside, Cimolino offers a stylish, well-acted production that goes toe to toe with the heavier hitters being staged in the Avon and Festival theatres. Topham is heartbreaking as Hermione, Orjalo buoyant and jovial as Perdita. McCamus, once more this season sharing the stage with Tom Rooney, is breezy and droll as the pastoral shepherd, and Rooney is similarly amusing, clad in fabulous faux facial hair alongside Sills.
Lucy Peacock, costumed in an Angels in America-style set of enormous wings, oversees the whole affair as Time, ushering the mortals in Leontes's orbit through the tribulations that accompany a long life on earth.
It's perhaps Francesca Callow's costumes that shine the brightest in Cimolino's production, luminous gowns and flower crowns that suggest a happier, simpler life in the fabled land of Bohemia. A few mismatched hairpieces aside, the fashion of this production is top-notch, as airy as the springtime celebrations that open the play's second half.
Other design elements, however, are less impressive. Douglas Paraschuk's sparse set sees lace doilies hung from the ceiling that raise and lower in accordance with Time's demands. There's a neat visual effect that sees the strips of fabric project interesting shadows onto the Tom Patterson Theatre stage, but the choice feels otherwise ungrounded, and strangely minimalistic against Callow's luxurious costumes.
And, to address the elephant – or bear – in the room, Shakespeare's most famous stage direction is executed here somewhat disappointingly. 'Exeunt, pursued by a bear' is one of the playwright's wilder directives, and in Cimolino's production, the bear is neither an actor in a suit nor a puppet (nor even a projected beast). No: The bear, in this case, is a sound cue.
In a lesser year of Stratford Festival programming, this convincingly-acted Winter's Tale would be a must-see – and indeed, die-hard Bard fans can rest assured Cimolino's production is perfectly fine. But if a dramaturgically rigorous pastoral is what you're after – or theatre tech that briefly makes you forget the constraints of live theatre – I'd suggest checking out the fest's other offerings first.