Both dramatic and mysterious, The Winter's Tale begins in Sicilia with King Leontes (Simon Russell Beale), for no apparent logical reason, taking it into his head that his pregnant wife Hermione (Rebecca Hall) has been unfaithful to him with his good friend Polixenes (Josh Hamilton), king of Bohemia, and that Hermione's unborn child is the result of that alleged liaison. In spite of protests by various members of the court, who attest to Hermione's loyalty, Leontes will not be dissuaded, resulting in the death of his son Mamillius, by grief, and Hermione's seeming death. Polixenes, in fear of his life, flees Sicilia.
Hermione's dearest friend, Paulina (Sinead Cusack), chides Leontes mercilessly and creates a situation designed to make Leontes suffer for his folly. Even the verdict presented by the Oracle, invisibly writing with only a white feather, proclaiming Hermione's innocence, does not dissuade Leontes from his vengeful attitude. All is dark and tragic.
The second half of the play takes place in sunny Bohemia sixteen years later where we ultimately meet the lovely young Perdita (Morven Christie). Her birthplace unknown, she has been adopted by a shepherd. The ambience of this section is light and joyous, even to the somewhat off-color shepherds' dance, using inflated balloons to represent women's breasts and men's phalluses - of course, this is typical of the period.
It later becomes known that Perdita is actually the daughter of Leontes and Hermione, who, as an infant, had been abandoned. In one of the most remarkable and moving scenes in all of Shakespeare, Hermione, who has been turned into a statue, comes to life before Leontes and all the court. Leontes, remorseful of his past behavior, begs Hermione for forgiveness. All ends happily.
This complex play has been given an outstanding production by director Sam Mendes and his company, anchored by the memorable performance of Simon Russell Beale as Leontes, whose various moods are skillfully projected, from his earlier suspicions to his rage at his supposed betrayal, to his ultimate remorse. Contributions by Sinead Cusack, Ethan Hawke as the roguish Autolycus, and the always fine Richard Easton playing Time and the Old Shepherd, are standouts in this production, wherein the entire company contributes to a rounded, unified whole.
Not to be overlooked is the simple but evocative set by Anthony Ward, with gentle candlelight (with the aid of lighting designer Paul Pyant), permeating various sections of the play and adding to its subtlety and mystery.
