A review of The Public Theater’s Free Shakespeare in the Park production of William Shakespeare’s “The Winter’s Tale” at the Delacorte Theater.
By Antonio
“A sad tale’s best for winter,” but this summer, it was a joy to see The Public Theater’s production of William Shakespeare’s The Winter’s Tale. This beautifully staged tale was so well spoken and deeply felt that it awakened my faith in the power of Shakespeare’s words and theater itself. Shakespeare used the play’s structure to remind us that without sorrow and loss, we can never truly experience happiness and contentment. We are imperfect creatures who constantly make mistakes, but what we do with our regret, guilt, and shame determines our destiny. If we know better, we must do better. This lovely evening in the park showed that theater can wrestle with big ideas while lifting the audience up, reminding them what it means to be human.
Despite the plot’s complexity—travelling between Sicilia and Bohemia and back again, combined with the 16-year jump—the acting and direction by Daniel Sullivan (MTC’s Summer, 1976) illuminated the relationships that held this miraculous journey together. The complex love between a husband and wife, childhood friends, a parent and child, a subject and king, and young lovers are fully explored, justifying why love must be a combination of exultation and anguish. The characters are caught between a rock and a hard place as Leontes’s (Raúl Esparza) tyranny and jealousies wreak havoc on all who love him. Even his loyal subject, Antigonus, played by Steven Skybell (NYT Foksbriene’s Fiddler on the Roof), who spares the infant Perdita’s life, is immediately pursued by a bear and devoured.
Even though I have seen this play many times before, I had the sensation of hearing the lines for the first time. The words hit me differently because of the actors’ expertise in indulging each thought, allowing the ideas to slowly build to a fully experienced emotional response. The overall pacing allowed the audience to breathe in and receive every psychological twist and turn. The ending of this play, where Apollo’s oracle has finally been satisfied and the lost child has been found, is pure magic. It is the most human of desires to long for a second chance at happiness, and it moves me every time. Paulina, played by Marsha Stephanie Blake (NYTW’s Othello), wondrously reunites these lost souls and creates a place where love and forgiveness defeat tyranny.
The design inspired and created two delightful worlds. and. I enjoyed the starkness of Sicilia, designed by Maruti Evans (Broadway’s Fat Ham), contrasted with the jewel-toned costumes designed by Linda Cho (Broadway’s Schmigadoon!) shimmering in the warm light designed by Bradley King (Broadway’s Hadestown). I was taken by the chilly perfection of this royal court and felt there was danger underneath the surface. As Bohemia unfurled 16 years later, the worlds flipped with lush, fertile grounds and flowers, filling the space with sunshine as the costumes reflected the simple earthiness of these characters. This pastoral setting felt like a new beginning, and the gloomy clouds of the storm had been wiped from the sky. The sound design by Brian Ronan (Broadway’s Some Like It Hot) and composition by Tom Kitt (Broadway’s Almost Famous) gave Bohemia energy and, for a moment or two, a lightness that made us forget the tragedies of Sicilia.
Director Sullivan crafted a sharp and satisfying tale. He allowed the characters to exist outside the words while always serving the text and the story. Shakespeare’s words seemed effortless, and his ideas soared with incredible assistance from voice & text coach Andrew Wade. All the actors commanded the language so well that I do not think I missed one syllable. Given such a strong vision for this piece, the actors were free to let the play take them wherever it needed to go. This ensemble of actors never lets the ball drop and generously lifts each other up with their commitment and talent. Kudos to casting by Kate Murray & Jordan Thaler.
Hermione, brilliantly enacted by Lily Rabe (Henrik Ibsen’s Ghosts at the LCT), was at the top of her game. She cracked open the text and found the heart of a wife, mother, and woman. As Leontes, Esparza (Broadway Center Stage’s Chess) created an incredible sequence; he was always discovering something new, which drove Leontes into suspicion and ultimately penitence. Blake’s Paulina commanded every scene and brought a profound sense of integrity to the insanity unfolding around her.
Polixenes, expertly portrayed by Gilbert Owuor (2022’s “Emancipation“), was filled with charm and grace, but found the depth of a father’s pain in being betrayed by his son. Perdita, delightfully played by Isabela Ferrer (2024’s “It Ends with Us“), not only looked like she could be Lily Rabe’s real daughter but also brought exuberance to the sheep-shearing feast. Florizel, boldly performed by Daniel Kyri (‘Chicago Fire‘), was brave in love, and his passion drove everyone closer toward their destiny. And finally, Camillo, the sage elder of this tale, delicately portrayed by Teagle F. Bougere (Broadway’s Oedipus), found dignity in being of service to others. As he realized his dream—returning home to Sicilia—he also helped the others find a path to healing.
I may be strongly influenced by our current social situation in this country, but Shakespeare has left me with hope that we will find a way home and reconciliation that will make us whole again. Hermione says, “But thus: if powers divine behold our human actions, as they do, I doubt not then but innocence shall make false accusation blush and tyranny tremble at patience.” As humans, it is challenging to be calm and patient in the face of injustice, but I do believe that one day soon, our patience will be rewarded and tyranny will be overwhelmed by kindness. Until that day, let Shakespeare and the theater be our guide.
