Foolish destruction & a chance for redemption with a contemporary twist in the haunting, playful The Winter’s Tale

Back to front: Richard Lee & Eponine Lee. Scenography by Claire Hill. Lighting design by Jareth Li. Photo by Dahlia Katz.

 

Back to Withrow Park last night for more outdoor Shakespeare excellence, as community-connected, entertaining and accessible Shakespeare in the Ruff opened their adaptation of The Winter’s Tale last night. Adapted by Sarah Kitz with Andrew Joseph Richardson, and directed and choreographed by Kitz with assistant director Keshia Palm, this haunting, playful production gets a contemporary twist. When a king’s jealous suspicions get the better of him, he destroys his family and a childhood friendship—and while those around him navigate the fallout, there may be room for redemption as Time passes and hearts change.

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Tiffany Martin & Jason Gray. Scenography by Claire Hill. Lighting design by Jareth Li. Photo by Dahlia Katz.

Jealousy and suspicion come to a boil in the mind of King Leontes of Sicilia (Richard Lee, in a passionate, compelling performance as a powerful, yet fearful man), and he convinces himself that his wife Hermione (a regal, heartbreaking Tiffany Martin) and visiting childhood best friend King Polixenes of Bohemia (an affable royal turn from Jason Gray) are lovers—and the child she carries isn’t his. He orders his servant Camillo (Kaitlyn Riordan, in a role that showcases her nuanced adeptness with comedy and drama) to poison Polixenes; troubled by her King’s directive and unable to carry out the deed, she and Polixenes flee Sicilia. Hermione is imprisoned and gives birth to a daughter, which loyal courtier and friend Paulina (played with fierce, grounded kindness by Jani Lauzon) presents to Leontes, in hopes of melting his heart. Unmoved, he banishes the infant to the wilderness. Hermione is put on trial by and found innocent by the Oracles; but in the meantime their son Mamillius (Eponine Lee, adorably precocious and haunting in this role) dies and, overcome with heartbreak, she too dies. Left alone with no heir, his family’s blood on his hands, and his best friend and ally forever severed from him, Leontes falls into despair.

The second half takes us forward in time, 16 years later, where Bohemian Prince Florizell (Giovanni Spina, bringing tender bashfulness and resolve to the romantic young suitor), son of King Polixenes, woos and marries the young shepherdess Perdita (played with independence and resilience by Andrea Carter). Polixenes and Camillo witness the wedding in disguise, and Polixenes reveals himself to soundly forbid the union of his son to a peasant; once again, the tender-hearted Camillo comes to the rescue and helps the young couple flee to Sicilia. As all gather in Sicilia, the two halves of this story converge— bringing revelations, and a chance for reunion and redemption.

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Andrea Carter & Giovanni Spina. Scenography by Claire Hill. Lighting design by Jareth Li. Photo by Dahlia Katz.

Lovely work from the ensemble in a production that is as playful and entertaining as it is powerful and poignant; incorporating a live soundscape of Time’s tick tock, bell toll rhythm; and a beautiful lullaby shared between mother and son that becomes an eerie refrain as the young boy continues to observe the proceedings even after his death (sound design, composition and lyrics by Maddie Bautista). Everyone does multiple roles here, with the comic antics of Lauzon (Old Shepherd) and Richard Lee (Clown), and Martin’s loveable scallywag servant Autolycus—not to mention Eponine Lee’s Bear—bringing the necessary comic relief to these otherwise intense and tragic events. And Martin delivers a heart-wrenching, inspirational account of a woman’s struggles, resistance and resilience as she travels far from home and back again—an everywoman’s voice throughout the ages that resonates—inspiring us to view this tale through a contemporary lens.

A cautionary tale of how suspicion and fear can turn an otherwise good leader into a tyrant; and how those who care about him can have the courage and wisdom to try to make things right.

The Winter’s Tale continues at Withrow Park, running Tuesdays through Sundays at 7:30 p.m. until September 2, including a special Labour Day performance on September 2. Advance tickets and lawn chair rental are available online; otherwise, tickets are pay what you can (PWYC) at the park on the night of the performance.

Click here for accessibility info. And you can get rain updates here on their Twitter account.

Power, identity & politics: Women come out from behind the men in the potent, thoughtful Portia’s Julius Caesar

Nikki Duval & Christine Horne. Set & costume design by Rachel Forbes. Lighting design by Jareth Li. Photo by Dahlia Katz.

 

Shakespeare’s women continue to take centre stage this summer—this time, with Shakespeare in the Ruff’s production of AD Kaitlyn Riordan’s Portia’s Julius Caesar, a potent and thoughtful adaptation of Julius Caesar from the point of view of the women in this story. The sharply wrought script weaves the text woven from 17 Shakespeare plays, four sonnets and a poem with new dialogue—and the women behind the men come to the fore as they wrestle with their own issues of identity, power and justice. Directed by Eva Barrie, Portia’s Julius Caesar is currently running outdoors in Toronto’s Withrow Park.

While all of Rome celebrates Caesar’s (Jeff Yung) triumphant return from a successful campaign against the sons of Pompey, his wife Calpurnia (Nikki Duval) confides in her bosom friend Portia, wife to Brutus (Christine Horne), regarding her concerns over their lack of an heir and Caesar’s relationship with the legendary Cleopatra, who she fears may usurp her. Nursing a newborn son herself, Portia is supportive and optimistic for her friend’s chances of bearing a child; but soon finds herself uneasy in her own marriage as Brutus (Adriano Sobretodo Jr.) becomes increasingly distant and absent from their home.

Meanwhile, some in Rome are troubled by Caesar’s desire for a crown, which he hides with false humility; and there are those who fear that the republic may become a monarchy ruled by a boisterous, boasting tyrant. Among these are Servilia (Deborah Drakeford), Brutus’s imperious power-brokering mother and Cassius (Kwaku Okyere), Brutus’s friend—who both fan his deep concerns over Caesar’s popularity and hunger for power. Choosing his love of Rome over his love of Caesar, Brutus joins Cassius and a group of like-minded conspirators in a deadly plan to put a stop to Caesar’s rise to power. Hiding in the shadows to learn what is afoot, Portia catches wind of the plan; now faced with wanting to warn her friend Calpurnia but not betray her husband, she goes to Calpurnia with a story of a dream of Caesar’s bloody statue. Coupled with the Soothsayer’s (Tahirih Vejdani) recent warning, Calpurnia attempts to stop Caesar from going to the Senate on that fateful day—even after Brutus has persuaded him to do so—but fails to convince.

The actions that follow create a heartbreaking rift between Calpurnia and Portia, and make for additional tragedy in this tale of power, propaganda and loyalty. Portia fears for her life and that of her son when Marc Antony (Giovanni Spina) turns the people against Brutus, Cassius and their fellow assassins. Returning home to find Brutus gone, Portia learns that Servilia has secreted their son away to keep him safe. But how safe can anyone be in these chaotic, bloody times? In the end, the living are left to mourn their dead—and judge themselves for their actions in the outcome.

Remarkable work from Duval and Horne as Calpurnia and Portia; friends of their own accord, with a relationship separate from that of their husbands, these women truly love, nurture and support each other. Duval gives a moving performance as Calpurnia; an intelligent woman, well aware of her husband’s station and rise to power, Calpurnia beats herself up for not having children and blames herself for his womanizing. And seeing her friend nurse her baby makes Calpurnia want a child even more. Horne deftly mines Portia’s internal conflict as a contented, happy mother and supportive wife and friend whose reach only goes so far. Portia simply can’t wait on the sidelines when she knows that something serious is afoot with Brutus—and her insistence that he confide in her comes from a genuine desire to help. Longing to not only do their duty, but be real, invested partners to their husbands, Calpurnia and Portia can only respond as events emerge—and do what they believe is right under the circumstances. Drakeford gives a striking performance as the sharp-witted, intimidating yet vulnerable Servilia. Unable to wield direct political power herself, Servilia employs what influence she has to persuade individuals and manage events; and with no female role models at the time, she appears to model her behaviour after that of powerful men—perhaps finding herself at odds with her natural instincts.

The outstanding ensemble also includes a Young Ruffian Chorus (Troy Sarju, Sienna Singh and Jahnelle Jones-Williams); and the male actors also portray the various washerwomen—as women and slaves, they represent the lowest among the 99% in Rome. Okyere’s fiery, volatile, hasty Cassius is the perfect foil to Sobretodo’s cool, diplomatic, calculating Brutus. Spina does a great job balancing Antony’s fired-up warrior and eloquent orator; and, in addition to the enigmatic Soothsayer, Vejdani gives us a playful and seductive Casca, a Roman courtesan in this adaptation whose part in the plot includes distracting Antony from the impending plot against Caesar.

Portia’s Julius Caesar continues at Withrow Park (in the space just south of the washrooms) until September 3, with performances at 7:30 p.m. Tuesday through Sunday (no show on August 27, but there will be a special Labour Day performance on Sept 3); the show runs 110 minutes, with no intermission. Tickets are PWYC at the venue (cash only: $20 suggested); advance tickets available online for $20 (regular) or $30 (includes camp chair rental).

Bring a blanket, beach towel or chair; bug spray also recommended. Concerned about the possible impact of weather conditions on a performance? Keep an eye out on Shakespeare in the Ruff’s Twitter feed or Facebook page for updates and cancellations.

In the meantime, check out this insightful and revealing Toronto Star piece by Carly Maga about the show, including an interview with AD/playwright Kaitlyn Riordan.