A Directory of Shakespeare in Performance, 1970–1990 pp 1897-1945 | Cite as
The Winter’s Tale
We… saw a play in which the first half was costumed and acted in a style and manner that could be called “Spanish Court Jacobean.” The black and silver of the colors and the richness of the cloth worked very well with Shakespeare’s text and the general acting abilities of the company … John R. Tobinski was inadequate as Polixenes. On the other hand, Patricia Ryan, as Paulina, gave a much applauded performance, and le Cianche du Rand, as Hermione, and Mary Ed Porter, as Emilia, more than carried their part of the play. Having left Time Past, we came to Time Present and the sea-coasts of Bohemia. Taking a cue from the recent Peter Brook production in London, we entered the world of a rock festival Mr. Reynolds did this some better than Peter Brook, suggesting a bit more of Herrick and a bit less of the Rolling Stones, but in these searches for the subtext one must be content, I suppose, with saying that if one likes this sort of thing, then this is the sort of thing that one will like. Debbie Engene, as Perdita, seemed to me to make nonsense of Shakespeare’s lines and character, but Henry Hoffman, as Autolycus, was quite engaging as a “pop star,” We then came to Time Future, or Time Redeemed, and here the production so baffled me that I am unable to evaluate it. A large number of characters wandered about in costumes of no discernible shape or design, but of an off-white, muslin cast, and for the remainder of the play seemed uncertain whether or not to become inebriated on heavenly champagne or enact some kind of “Parsifal” religious liturgy. Finally, and somewhat mercifully, the whole thing came to an end. It is only fair to add that a large number of spectators found this by far the most interesting and stimulating production of the Festival. (J. L. Murphy, Shakespeare Quarterly 23 : 403–04)
KeywordsOpening Date Chicago Tribune Final Scene Young Lover Fairy Godmother
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