The Winter's Tale
Polixenes, King of Bohemia has been visiting his childhood friend Leontes, King of Sicilia, when Leontes becomes convinced that his pregnant wife Queen Hermione has been having an affair with Polixenes. He instructs his trusted advisor Camillo to poison Polixenes, but Camillo believing the Queens innocence flees back to Bohemia with Polixenes.
Hermione gives birth in prison and entrusts her friend Paulina to take the new-born to Leontes in the hope that it will convince him that the child is his, but Leontes orders the baby to be abandoned and tries Hermione for treason. Summoning the Oracle of Apollo to support his claims, he rejects the verdict when it disagrees with his beliefs. At this moment news reaches them that their son Mamillius has died, the Queen collapses and Paulina later reports that she has died, sending Leontes into mourning as he realises the enormity of his error.
Meanwhile, the new-born Princess left on the coast of Bohemia, is found by a shepherdess and her son, along with money and instructions to call her Perdita. 16 years later Perdita and Polixenes son, Prince Florizel, (who is disguised as a shepherd), have fallen in love. When Polixenes and Camillo discover this, the couple flee to Sicilia where Perdita’s true identity is revealed.
As all parties converge on Sicilia, truths are confronted and families reunited.
Yael Farber’s direction sees the story told in continuation, as one scene ends it plays out in the background as the next scene begins at the forefront of the stage. This makes the flow of the story consistent and works well. The Costume design by Soutra Gilmour in mostly greys and blacks, representing the dark tale playing out, whilst Perdita is represented in Red, both as a newborn and as a young adult, emphasising her characters position in reuniting the two kingdoms love for each other and the courage to accept their mistakes. Gilmour’s Set Design combined with Lighting Design by Tim Lutkin creates an atmospheric stage, in particular Act 2 sees the celebration of the solstice feast, the movement (Imogen Knight), music (Composed by Max Perryment) and colours of this scene are a delightful plethora for the senses, and we feel the happier side to Perdita’s life as opposed to the darkness of her father’s kingdom.
Madeline Appiah plays Hermione, her performance is delightfully empathic and shows her characters strength in a world ruled by men. Equally and in contrast, Bertie Carvel’s portrayal of Leontes is rife with misogyny and narcissistic qualities.
John Light as Polixenes is part charming (when showing his friendship with Leontes and Hermione) and part brooding authoritarian (when he discovers his son Florizel’s love for Perdita).
Additional mentions should be made to Aicha Kossoko as Paulina, with her ‘no nonsense’ yet compassionate characterisation, delightful to watch, and Trevor Fox as Autolycus, the roguish thief who appears sporadically during the story for some lighter comedic moments, only to eventually help to reveal Perdita’s real lineage by meddling in overheard conversations.
Overall, this is a sensory feast of a production, with its moments of colour and comedy hidden deep in the dark storyline. It is, however, an important story. The relevance of the female characters being at the mercy of the male domination of power is an ongoing topic in present day and as a female audience member there were scenes that made for uncomfortable viewing (but only because the acting was so good).
This show was reviewed on the 22nd July 2025 at The RSC, Stratford upon Avon where it runs until the 30th August 2025. Tickets available here: https://www.rsc.org.uk/the-winters-tale
Review written by Rachel Louise Martin
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Photo credit : Marc Brenner
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