Stratford Festival presents two Shakespeare plays you must see this season

I have been back and forth to Stratford a few times already this season, and I still have two more trips left to finish off the season before the end of summer, so lots more to write about in the coming weeks. For now, a couple of productions, both by Shakespeare, I saw in July, both of which are highly recommended.

The Winter's Tale, along with The Tempest, are two of the Bard's final works. Written within a few months of each other, both were first performed in 1611, each with powerful fathers and remarkable daughters at the centre of the play. Let's look at The Winter's Tale first.

The Winter's Tale, directed by Marti Maraden, is the first time I've seen the play since Robin Phillips' triumphant return to Stratford with a production on the Festival Stage about 20-odd years ago. The story deals with Leontes, King of Sicilia, and Polixenes, King of Bohemia, friends for many years. However, you have to wonder just how strong the friendship would be if within the opening minutes of the play after Polixenes leaves the stage, Leontes suspects an adulterous affair has occurred between the King of Bohemia and Leontes' wife, Queen Hermione. The suspicions continue, eventually raging out of control to the point Leontes throws his wife into prison as Polixenes flees for home. While in Prison, Hermione gives birth to a daughter Leontes suspects belongs to Polixenes; he banishes the child to the wilds, and prepares to put his wife on trial for her life. It takes sixteen long years before Leontes sees the error of his ways and the damage caused by his rampant jealousy.

I have always sat there wondering how logical Leontes' jealousy really is; much like Rosalind duping her lover in As You Like It into thinking she's actually a boy. Really, now, are both men here really that blind to reason, or are they just stupid? No matter; we wouldn't have a great Shakespearean play in different circumstances, would we?

I have always enjoyed Marti Maraden as an actress and in recent years, even moreso as a director. Her direction here is clear and to the point, making for a satisfying evening of theatre. I am not, however, entirely sold on the costuming for this production, which is largely in close to period garb; however, they seem a little chintzy, particularly in the first act, I find.

The cast is almost uniformly strong here: Ben Carlson goes from strength to strength in Stratford, and his Leontes has a lot going for it. It is a nicely balanced performance. His Queen, played by Yanna McIntosh, is suitable regal and elegant. The one real standout performance, however, is Seana McKenna as Paulina, Antigonus's wife, who defends Queen Hermione strongly in front of her jealous husband. She presents a strong case; can't this guy get it through his head? Other strong performances are by Sean Arbuckle as Camillo, Dan Chameroy as Polixenes, and Luke McCarroll as Mamillius, song of Leontes and Hermione.

You will do well to see this production of The Winter's Tale; it runs at the Tom Patterson Theatre until September 25th, and rates a strong three out of four stars.

The next production we'll look at is, of course, The Tempest, which is the big production on the Festival stage this year due to the fact Christopher Plummer appears as Prospero. Directed by Artistic Director Des McAnuff, this is far and away one of the best Shakespearean plays I have seen at Stratford - ever. And that is going all the way back to 1982 when I first started reviewing here. Like his predecessor, Richard Monette, I find McAnuff can sometimes not leave well enough alone and show some restraint in his direction. But here, everything falls into place perfectly, and not a single element overpowers anything else, producing a wonderfully balanced production that satisfies on so many levels.

The most significant aspect for me is the fact although it is chock full of special effects, they do not overtake the production as is often the case nowadays, creating a show where the special effects are the show and the dialogue is almost secondary. Not a single effect goes over the top here; not a single visual distracts from the play but rather enhances it. This is all due to a creative team lead by McAnuff who knew when to stop, when to hold back. It is breathtaking to watch this production, causing the people sitting next to me afterwards to simply exclaim "Wow!" That said it all, really.

The story, of course, deals with Alonso, King of Naples, who is battling a violent storm at sea as the play opens. He is aboard ship with his son, Ferdinand, and his ally Antonio, Duke of Milan. But the tempest is no ordinary garden-variety storm; rather, it is one magically raised by Prospero, Antonio's elder brother who for the past twelve years has been marooned on a remote island with his daughter Miranda. After the storm subsides, Prospero comes clean with Miranda and explains he is the rightful Duke of Milan, having been deposed by Antonio. Antonio sent him out on a decrepit boat with the infant Miranda a dozen years ago, and they found themselves marooned on this island, where Prospero had been honing his magical arts for just such an occasion: to bring his enemies within his grasp once again.

The cast, like the production itself, is without equal at Stratford this season: all the big guns are here, supporting Plummer in the role of Prospero. Peter Hutt appears as Alonso, King of Naples; James Blendick as Gonzalo, an old councillor; Bruce Dow as Trinculo the jester; Stephen Russell as Master of the Ship; and Geraint Wyn Davies as Stephano the butler, a comic role he makes the most of. Rounding out the cast highlights are Trish Lindstrom as Miranda, and Dion Johnstone as the slave Caliban. But special mention must also go to Julyana Soelistyo as the spirit Ariel. She comes from New York City, and at barely four feet tall is perfect for the part. She literally floats around the stage, with an infectious laugh you cannot ignore. She is a genuine find, to be sure!

If I am guilty of writing an unequivocal rave, I am guilty as charged, your honour. This production has everything going for it: great cast, great direction, great design. If I could give it five stars I would, but four stars, my limit, will have to do. But beware, this is the hottest ticket in town with good reason, and it only runs until September 12th, so run, don't walk to the phone or computer to book your tickets now. This is one show you will want to see this year, without question!

August 14th, 2010.