Review: THE WINTER'S TALE, Shakespeare's Globe

"A sad tale's best for winter." There may be moments of poignancy and outright tragedy in this late Shakespeare play, but Sean Holmes' vibrant production ensures that the audience is given more than their fair share of comedy and levity throughout. Also, for the first time in the venue's history, the show is spread across both the Sam Wanamaker Playhouse and The Globe Theatre; patrons journey from the formality of indoor Sicilia to unpredictable outdoor Bohemia and back again over the course of three hours in a theatrical experience not to be missed.

If you want to be pedantic, it might have been better to stage this production of the play in the summer season; not only would it make heading outdoors more palatable (and practical), it would also fit with the idea that Bohemia is generally thought of as more spring-like and warm - brimming with life, unlike the chilly atmosphere to be found in Sicilia. However, it's understandable that the Globe should want to include it in the winter season, given both its title and the fact that the last production here did actually take place in a summer season.

It's a brilliant conceit, and it's really rather surprising that it has taken almost ten years for such an endeavour to be hit upon. Though it might have been better to make the outdoor section at least part-reserved, so everyone knows roughly where to aim for when they head in there after the interval, rather than a late scramble for a spare seat that delays the restart. I'd also suggest that they, once and for all, make the pit in the Sam Wanamaker Playhouse unreserved, so there's no need for people to climb over one another to find their seats for the final act.

To be ultra-picky, it might be a nice touch if the person announcing the breaks and location changes had some kind of costume that related to either Sicilia or Bohemia, just to keep you in the world of the play a bit more - maybe even a member of the ensemble could do it. It's definitely an idea that could be utilised again (summer productions of plays like As You Like It or A Midsummer Night's Dream, for example), so hopefully this isn't a complete one-off.

The beauty of having two different performance spaces to play with is that the designer can go to town on each one, knowing that no wholesale set changes will be required and the audience will be completely immersed in both worlds. Though the 'make do and mend' attitude we see in Bohemia, all fairy lights, mullets, and unmatching chairs, is charming and works brilliantly for that act of the show, it is in Sicilia that Grace Smart's design really captures the imagination.

For the first act at least, the whole feel of Sicilia seems to have been directly inspired by The Menu (the 2022 film starring Ralph Fiennes and Anya Taylor-Joy), and it is absolutely ingenious. Laura Moody's compositions for the cello and viola are of the same confident and striking style, Tamsin Hurtado-Clarke's movement direction has the ensemble serving the royal family in regimented fashion, and even the staff's uniforms and hairstyles are reminiscent of Hawthorn (the restaurant featured in the film).

It plays out as a tasting menu, beginning with the dangerous luxury of ortolan and continuing through to the infamous dirty burger as Leontes finally loses his grip on reality, going against the oracle to find his wife Hermione guilty of adultery. A dining table is an intriguing setting for the conversations that occur at this part in the play; even when there are only a small number of diners at one table, there is always potential for different dynamics to form and private conversations to start.

Once we reach Bohemia, however, things are far less 'correct'. Using this idea of informality and freedom, the script makes occasional forays into present-day speech rather than sticking to the original Shakespeare. Ed Gaughan's Autolycus probably milks this freedom a little too much, however it is an appealing portrayal of the loveable rogue - and completely in keeping with the informality of that world.

This production also features one of the most entertaining enactments of 'Exit, pursued by a bear' that I have ever seen. Perhaps partly inspired by Paddington's new position as Grim Reaper following the death of Queen Elizabeth II, a tall and very smartly dressed bear first ushers away Mamillius (son of Leontes and Hermione), and then later confidently chases Antigonus through Bohemia - both are then confirmed to have died. It's a glimpse into the surreal that you don't often get with The Winter's Tale.

Sergo Vares and John Lightbody are excellent as the best friends turned enemies, Leontes and Polixenes; both imperious in their own kingdoms, though neither in full control of their personal lives. Bea Segura is a wonderful Hermione - passionate in her own defence when faced with accusations of adultery, but forgiving of her husband following his apparent rehabilitation. There are brilliant comic turns from Colm Gormley and Samuel Creasey as the Old and Young Shepherds (amongst others), but Nadine Higgins' Paulina is the one who ultimately takes charge and almost steals the show, bringing it to a more hopeful conclusion.

A show for the die-hard Shakespeare fans, certainly, but also an excellent introduction to those less familiar with his work. It's a theatrical experience only the Globe could offer, and one that should be grabbed with both hands before the limited run comes to an end.

The Winter's Tale is at Shakespeare's Globe until 16 April

Photo Credit: Tristram Kenton

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