Find “The Power of Forgiveness” with The Winter’s Tale at The Players Club of Swarthmore

by Shannon Reed

At some point in our lives, each person has likely read a Shakespeare play or two. As I have ventured more and more back into the theatre, I have been lucky to experience more and more of Shakespeare’s works. The thing that always seems to strike me the most as I watch these pieces unfold onto the stage is the relevance of the lessons in our world today. A similar sentiment is seen in this production of The Winter's Tale at the Players Club of Swarthmore. Director Arlow WIllingham explains it perfectly in his director's note stating, “This play reminds me that we have all been trying to reconcile our various joys and griefs together for as long as we have felt them.” This sentiment was truly brought to life in Willingham's direction as they seamlessly blended the storytelling of Shakespeare with modern elements to make it relatable to the current audience. Costumes designed by Willingham and Eleanor Giorgianni, lights designed by Kathryn Giorgianni, and set and prop design by Lily Small only aided in creating the picture and captivating audiences from the moment the show began. Sound design by John Hedges contained perfectly curated melodies to underscore the plot and transition from scene to scene and sound direction allowed for all cast to be clearly heard in the space. Stage manager AJ Rose Wallihan and assistant stage manager Jess Saunders orchestrated each cue perfectly ensuring the show ran smoothly and the authenticity of each moment was felt. Intimacy director Matthew Carter excellently choreographed both intimate moments of love and rage between each of the characters throughout the show. 

At the onset of our tale, we are met by King Leontes, Thomas- Robert Irvin, and Queen Hermione, Britt Fauzer, of Sicilia. They are joined by King Polixenes, David Nibert, of Bohemia who is readying to leave after a long visit; much to the dismay of King Leontes. Once Hermione is able to convince him to stay, Leontes is thrown into a jealous rage assuming that she was only able to do so after being unfaithful. Consumed by this jealousy and rage of her betrayal, he orders his cup bearer Camillio, Kevin McPeak, to poison Polixenes. Camillio is clearly conflicted by the decision, wanting to be loyal to his king but also doubting the accusations. He ultimately chooses to warn Polixenes and both of them flee to Bohemia. Left alone to manage Leontes' rage, Hermione is imprisoned for her assumed actions. She stands firm in her innocence but being imprisoned takes a toll on her and her first born, Mamillius, Ivy Jackson. After giving birth in prison, Hermione’s friend Paulina, Susan Bolt, takes the newborn to meet Leontes hoping that it will help him see the truth. Ultimately this plan backfires and Paulina’s husband Antigonus, Cathy Gibbons Mostek, is ordered to take the newborn far away.  After receiving a vision from Hermione, Antigonus leaves the newborn on the shores of Bohemia where he ultimately meets his own end while the newborn is adopted by a shepherd, Dani Kennedy, and their son, Kat Wilson. Back in Sicilia, and despite a trial and a message from the Oracle delivered by Cleomenes, Melissa Santangelo, and Dion, Ryan Mattox, that proves Hermione's innocence, she and her child Mamillius ultimately meet an untimely death. Only then, can Leontes see the error of his ways vowing to mourn the loss of his family each day. As we continue on in the story, we are met by the personification of Time, Mostek, to help us see how this story continues into the future. We are met by a grown up Perdita, Kira McFadden, who is unknowingly the daughter of King Leontes and Florizel, X Bradley, who is hiding his identity as the son of King Polixenes. We are additionally greeted by the comical con artist Autolycus, Alana Hoskins. Secrets never stay hidden and Florizel’s identity is revealed by none other than his father King Polixenes and Camillo. In an attempt to preserve their love, they retreat in secret to the shores of Sicilia. They are unknowingly followed by King Polixenes, Camillo, who schemed this whole plan to return to his home land, the shepherd, their son and Autolycus, up to their tricks again. In a fated meeting of the past, Leontes learns that Perdita is his daughter and is now worthy to be wed to Florizel. In a last twist of fate, Paulina reveals a statue in honor of Queen Hermione, the honor is all hers however to reveal that Queen Hermione is still alive and order and love has been truly restored through the power of remorse and forgiveness. 

The casting of this show by Willingham and producer Liz Corcoran was absolute perfection. From an audience perspective, it was evident that each actor had a clear grasp of who their character was and how that would translate into delivery of lines, movement on stage, and interactions between each other. Irving had a masterful delivery of both jealous rage from being betrayed and immense grief to his actions as Leontes.   Fauzer incredibly portrayed both Hermione’s assertion of innocence to her agony of loss. Both leads expertly created the undercurrent of conflict that was felt throughout this piece and that each subsequent story wove in and out of. Nibert and McPeak confidently navigated the complexity of their roles depicting both the panic of their choices and then later adding wonderful levity and humor as their poorly disguised characters tried to blend in at a festival. Jenkins, McFadden, and Bradley exquisitely portrayed youth and innocence in their roles, each reminding the audience of the hope of possibility throughout the story. In contrast, Bolt, Mostek, Santangelo, and Maddox added the wisdom of lessons learned to their respective roles again showing the various conflicts that existed in the themes throughout. Hoskins was a standout in their role as Autolycus reminding the audience that there is levity even in dramatic times. Their antics were often entangled with Kennedy and Wilson’s characters. All three showcased impeccable comedic timing and mannerisms in their respective roles. 

An additional highlight of the show was the music that was collaboratively created by the cast and crew. The improvisation and audience participation during a festival song was a memorable moment of the performance. This ensemble consisted of John B Hedges, Alana Hoskins, Melissa Santangelo, AJ Rose Wallihan, Arlowe Willingham, and Kat Wilson.

I found myself reflecting on this play long after I left the theatre. The conflicting themes, the nuanced storytelling and the connection to themes of the modern day kept me thinking on what I saw. A worthy watch for anyone interested in seeing the duality of situations and the impact of time. 

The Winter’s Tale runs through August 30^th and tickets can be purchased at https://ci.ovationtix.com/117/production/1273448