ST. MARY’S CITY, Md. – Among the least problematic failings of the current American education system, the arbitrary omission of a select set of William Shakespeare’s works ranks as possibly the most perplexing. While his most famous works, such as Romeo and Juliet and Macbeth, are often taught ad nauseam during our early years, most seemingly overlook his more nuanced plays. The Newtowne Players’ (NTP) latest outdoor Shakespearean production at St. Mary’s Historic offers a beautifully modern interpretation of one of these oft-forgotten works, A Winter’s Tale.
Initially published in 1623 but believed to have been first performed at the Globe Theatre in 1611, in A Winter’s Tale, the bard relays the story of two kings whose friendship is torn apart when one of them, King Leontes, allows his insecurities and jealousy to convince himself that his wife is being maritally unfaithful with his childhood friend, King Polixenes. From there, the story’s first half summons forth what can only be described as several Jerry Springer-level plot points. The latter half dramatically shifts the narrative tonally into a comedic, happy work.
Monica Meinert serves as this production’s director and has created an immersive piece that feels all-encompassing throughout the entirety of its runtime. At the crux of her directorial vision is whether or not the old adage – “Time heals all wounds” holds any truth within its concept. Meinert has chosen to take a single monologue at the top of the second half of this play, spoken by a personified version of Time and craft a thorough premise around its brief appearance. Her masterful direction allows Time to become a fully realized character that both oversees the story through the use of judiciously selected modern songs and simultaneously begs us to examine our own personally tumultuous experiences to explore the validity of the query above.
Along with this, Meinert spends the rest of the show further adventuring into the other more profound implications of the source material (of which there are many). In particular, her interpretation of the statue plotline in the final scene beckons further ponderance. While I could wax philosophical about her creative choices, I fear this review would be eternal. Suffice it to say; she has truly created a thought-provoking yet entertaining evening of art that appeals to the multitude rather than the minority.
While preparing to write this article, I struggled to choose only two or three actors that I found to be of particular note (as is my standard) in this production due to the sheer dedication of the entire cast. The three that I have arduously deliberated over choosing are Christina Candelieri as Time, Brian Davis as King Leontes, and Kate Donnelly as Queen Hermione.
Candelieri conjures forth a maternal, ever-watchful eye as Time. Both take the time to acknowledge the audience as fellow surveyors of the narrative and guide us toward her desired conclusion on the matter. Her expert vocal and guitar performances further enhanced this effect.
Davis pulls an emotionally conflicted aspect to the forefront of his character’s story arc throughout his time on stage with both interesting facial expressions and physicality. The moment that literal tears were pouring from his eyes left me speechless and in pure, unadulterated awe of the authenticity of his performance. At one moment, he portrays the irredeemable tyrant, but during the next, he can transform into a beloved husband as if a phoenix rising out of the ashes.
Donnelly’s interpretation of Queen Hermione is fervently reminiscent of the wrongfully accused Elizabeth Proctor in The Crucible. Her genuine anguish as a betrayed partner and dismissed damsel is excruciatingly palpable in its delivery and visceral for the audience to behold in the best way possible. You both resign yourself to her inevitable demise while hoping against all odds that she will receive her due justice and a happy ending.
Even if this play were robbed of any visual medium, it possesses an expansively interpretative capacity for its audience. When performed at St. Mary’s Historic with NTP, this aspect is further amplified to a wondrous extent that will satisfy any theatergoer. There was an opportunity to experience the entire gamut of human emotion during the course of its run from utter despair to unbridled glee. Time may be able to heal all wounds, but missing this production would be an irreparable one, to be sure.
The approximate runtime is 2 hours and 30 minutes with one fifteen-minute intermission.
This play contains bawdy innuendos and mature themes throughout, such as death, accusations of adultery, and murder. Most of these elements should fly right over a young child’s head.
A Winter’s Tale will be playing at Historic St. Mary’s City at 47418 Old State House Road St. Mary’s City, MD 20686 through August 19th, 2023. For more information and to purchase tickets, please visit NTP’s website here.
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“ Most of these elements should fly right over a young child’s head.”
The entire play is going to go over their heads because it’s Shakespeare. Do your kids (and the rest of the audience) a favor and leave your kids home!