Review: THE WINTER’S TALE, RSC (TV broadcast)
Photo credit: Topher McGrillis
After much-anticipation, the RSC’s The Winter’s Tale was finally given an audience on Sunday night and we’re so glad it was. Due to be performed live at both the RSC and the Barbican last year, the production has been adapted for the screen with the original cast as part of the BBC’s Lights Up series.
Often labelled a ‘problem-play’ because of its clear split between tragedy and romantic comedy and its morally troublesome conclusion, the production begins in a grandiose setting – one which is quickly uncovered as rotten to the core. The play-off between tyranny and loyalty is wonderfully acted by Joseph Kloska (King Leontes) and Ben Caplan (Camillo), embodying the dynamics of this world. Whilst Leontes’ intense paranoia feeds a frenzy of tyranny, Camillo’s predicament arises from a crisis of morality and is quickly resolved in favour of honour and honesty, leaving us with a clear villain throughout the first half of the play. It’s this ferocious paranoia and narrow-mindedness that makes it difficult for us to realign with Leontes at the close!
Direct speech is employed, often by Kloska’s King Leontes, giving us an intensity likely stronger than in a live production. It makes us feel culpable in our observation. The use of cameras is exploited again in Hermione’s trial. Switching occasionally to black and white like an old news report, it creates the impression that Hermione is bound by an archaic structure and adds a dimension to the scene that again would not have been possible live.
Kemi-Bo Jacobs’ performance as Hermione is heart-wrenching, particularly on the line “My life stands in the level of your dreams”. Her strength is backed up by a stellar performance from the fierce Amanda Hadingue as Paulina. In fact, the tension of this world is embodied by the whole cast throughout the first half, culminating in an impressive use of physicality in Act III, Scene 3 for the tempest and famous line “Exit, pursued by a bear”. The ensemble’s unity is powerful and the atmosphere palpable.
Fantastic to see throughout was the incorporation of BSL with Emilia played by D/deaf actor Bea Webster and the Young Shepherd played by William Grint. Subtitles are employed, which don’t always feel necessary, but are well utilised in a production now on screen rather than stage. More productions should feature this accessibility.
The contrast between the tragic first half and the bright, buoyant, pastoral second half is well communicated through fabulous set and costume. Madeleine Girling creates a wonderful visual dichotomy between the first and second parts of the play, between ‘stiff-upper-lip’ and freedom. Georgia Landers and Assad Zaman (Perdita and Florizel) fill the stage with their energy in a play that is astoundingly socially distanced. The whole company, in fact, is charged with an energy that obliterated all notice of the cast’s social distancing.
Although not a production intent on breaking boundaries, this is a fantastic version of The Winter’s Tale. With a talented cast, entertaining music, and a beautifully simple manipulation of the set by Tom Piper, it’s definitely one to watch.
**** Four stars
Reviewed by: Eliza Harris
The Winter’s Tale is now available to view on BBC iPlayer.
