A Fresh Approach to ‘The Winter’s Tale’ at Chicago Shakespeare Theater

Director Edward Hall introduces an innovative endeavor at the Chicago Shakespeare Theater by forming a Chicago-based repertory company. This company comprises performers willing to engage in multiple plays concurrently, marking a promising development for veteran Chicago actors. These actors gain the advantage of extended work periods with reliable partners during this fall and early winter. This aligns with Hall’s ongoing interest in centering Shakespearean productions around a dedicated acting troupe and mirrors the original style of production with consistent cast sizes and character types.

“The Winter’s Tale” opened on a recent Sunday afternoon and will return on Friday night due to preparations for “A Midsummer Night’s Dream.” This second production is set to premiere on November 15 and will run in a “rotating rep,” allowing audiences four opportunities to view both plays in a single day later in November. This method, akin to the Stratford Festival of Canada, typically enhances the depth of the theatrical experience. A full evaluation of this fall’s Chicago Shakespeare repertory can only be completed after “A Midsummer Night’s Dream” debuts.

“I hope the company finds a more consistent and intense emotional landscape in future performances.”

My observation of “The Winter’s Tale” reveals potential for more emotional depth, despite several compelling performances and engaging staging ideas. This Shakespearean play is known for its profound emotional impact, often stirring deep emotions in audiences. It belongs to a group of Shakespeare’s late romances, which explore themes of redemption and the possibility of reuniting with lost loved ones.

The narrative centers on Leontes, King of Sicilia, who rashly accuses his wife, Hermione, of infidelity with the King of Bohemia, similar to the plot of “Othello” but without an Iago figure. This accusation leads to devastating consequences, yet the play offers Leontes a chance for redemption, one of its most poignant aspects. This aspect is, however, somewhat muted in Hall’s production, particularly due to casting choices that intertwine the fates of the children, Perdita and Mamillius, which diminishes the final scene’s emotional complexity.

The early scenes are more effective, showcasing Leontes’ impulsive actions and the fear-driven silence of his courtiers, played by Kevin Gudahl, Sean Fortunato, and Erik Hellman. These scenes draw parallels to modern-day political situations where courage is scarce.

Among the cast, Issy Van Randwyck as Paulina stands out, portraying a character who fearlessly upholds her convictions. Her performance is compelling and drives the narrative forward.

In the playful scenes of Bohemia, Hall transforms the setting into a whimsical world with a rock band and dynamic performances, adding entertainment though diverting from the core emotional themes. Felicia Oduh shines in her role as Perdita, contributing to the engaging atmosphere.

The production succeeds in delivering clear dialogue, visual elegance, and captivating costumes designed by Michael Pavelka. Shakespeare’s iconic stage direction, “Exit, pursued by a bear,” is executed effectively, ensuring audience enjoyment.

While the play needs further integration into the company’s repertory to achieve its emotional resonance fully, its clear narrative and vibrant presentation are noteworthy achievements. The production runs through December 12 at the Courtyard Theater on Navy Pier, with tickets priced between $65 and $135.