The Winter’s Tale

The Winter's Tale, Shakespeare Theatre of New Jersey
Jon Barker, Erin Partin, and John Keabler; photo: Jerry Dalia

Shakespeare Theatre of New Jersey offers a powerful new production of The Winter’s Tale, a play that mixes darkness and light, the tragic and the playful. Directed by STNJ artistic director Bonnie J. Monte, it premiered December 8 and runs through December 30.

A cast of 20 is called upon to present Shakespeare’s story of how jealousy can overcome loyalty, friendship, judgment, how destructive it is to stick stubbornly to a belief despite all evidence to the contrary, and how, in the long run, the only redemption may be through love. Director Monte says this complex play is “part allegory, part searing drama, part pastoral comedy and part uplifting and moving romance.”

Leontes, King of Sicilia (played by Jon Barker), and his pregnant wife, Hermione (Erin Partin), are entertaining Leontes’s longtime friend from Bohemia, Polixines (John Keabler), when Leontes gets it in his head like a worm in an apple that Hermione and Polixines are more to each other than they ought to be. Learning the king means to do him harm, Polixines and Leontes’s courtier Camillo (Patrick Toon) flee Sicily, which only confirms Leontes of the couple’s guilt.

Leontes imprisons his distraught wife, who gives birth to a daughter that the wise woman Paulina (Marion Adler) begs him to see and claim, but he will not. He insists that his general Antigonus (Raphael Nash Thompson) take the baby away and leave it in some desolate place that it survive or die as the fates decree. Reluctantly, Antigonus complies.

Leontes puts his wife on trial, a proceeding interrupted by a message from the oracle of Apollo, who declares Hermione’s innocence. The message also says his son will die and Leontes will have no heir until he is reunited with his lost daughter. The death of the boy convinces him of the oracle’s truth, but the death of her son is too much for Hermione, and she too is struck dead.

Antigonus leaves the babe in a Bohemian wood and, in theater’s most famous stage direction, “exits, chased by a bear.” The infant is discovered by kindly shepherds.

Sixteen years pass, the character Time tells us, and the beautiful girl-child Perdita (Courtney McGowan) has fallen in love with Florizel (Ryan Woods), son of Polixines, though she does not know he’s a prince. The play moves into broad comedy with the country folk, but eventually the plan is made to go to Sicily, where sadness still reigns.There, everyone reunites and theater magic happens, and what was dark is made light again.

The entire cast is strong, with special mention needed for Jon Barker, who can convey every drop of meaning in Shakespeare’s lines through his delivery and unerring body language. Erin Partin and Marion Adler (who received applause for one particularly fiery speech) were also noteworthy. Seamus Mulcahy (Charley’s Aunt in the theater’s most recent production) shows his genius for physical comedy in the secondary role of shepherd. Raphael Nash Thompson and Patrick Toon provided restrained dignity in contrast to Barker’s erraticism.

A simple set is needed to accommodate two countries and numerous scenes, and Brittany Vasta has produced gorgeous, chilly white backgrounds that radiate winter and allow the beautiful costumes of Nikki Delhomme to provide the color. Other production credits to Tony Galaska (lighting), Danielle Liccardo (dance consultant), and Denise Cardarelli (production stage manager).

Shakespeare Theatre of New Jersey productions are hosted at Drew University in Madison, N.J. (easily reachable rom NYC by train). For tickets, call the box office at 973-408-5600 or visit the Box Office online. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!

Stuff I Learned Lately and How I Learned It

Woodrow Wilson's Princeton Home

Woodrow Wilson’s house in Princeton cost about $35,000 to build and is now—rough-guessing here—worth about 100 times that — I learned this at a library benefit dinner at the actual house, featuring a talk by U-Mich professor Patricia O’Toole, who has a new Wilson biography: The Moralist. (Wilson promoted  the neo-Tudor architectural style, and you see it all over town)

Just because an online course is about a subject I’m deeply interested in doesn’t mean the course itself will be interesting — learned during sessions 1 & 2 of a 3-part online course about genetics in genealogy

How to tell llamas and alpacas apart – at Jersey Shore Alpacas (e.g., llamas are bigger and have perkier ears)

There was a founding father before the Founding Fathers and, though the British called him “the greatest incendiary in all America,” he’s practically forgotten – a lecture at the fantastic David Library of the American Revolution by Christian di Spigna, author of Founding Martyr: The Life and Death of Dr.Joseph Warren

Not all NYC crime writers sport sleeve tattoos – disabused of this impression at the December Noir at the Bar readathon

It took about 1300 years for medical science to reacquire the knowledge lost when the Alexandria library complex was destroyed – adult ed course on Egypt

Ron Chernow (and thus the musical Hamilton) probably got a couple of the more risqué situations in his book wrong – also at the David Library, in a talk by Tilar Mazzeo, author of the new book, Eliza Hamilton

 I may be exhibiting early manifestations of that old person’s “no filter” problem – you don’t want to know

The black stockings and tights I’ve been wearing since Thanksgiving are navy – daylight.

A Christmas Carol

Greg Wood as Ebenezer Scrooge; photo: T. Charles Erickson

This is the third season for McCarter Theatre Center’s most recent and most joyous version of A Christmas Carol, its delightful return to Christmas in the Age of Dickens. Opening night was December 7, and this sparkler of a show, based on playwright David Thompson’s adaptation and directed by Adam Immerwahr, runs through December 29.

Immerwahr’s intent when he took on this holiday staple was to explore how Scrooge’s redemption “isn’t just the redemption of one man . . . when a person changes, it can transform an entire community.” His version is filled with songs from what Immerwahr calls “the treasure trove of terrific Christmas music of Dickens’s era.” Even some carols not used explicitly have “become part of the underscoring of the play,” whose music was composed by the late Obie-award winning composer Michael Friedman.

The show exemplifies McCarter’s goal of celebrating creativity, community, and diversity in the presence onstage—and before the curtain, in the lobby and theater aisles—of a cheerful community ensemble of 26 adults and a dozen children. The entire audience is involved in singing the opening carol, and probably no one in the audience avoided beaming and foot-tapping during the Fezziwigs’ Christmas party, with its exuberant, full-cast dance.

Ebenezer Scrooge (played by Greg Wood) has never said “Bah! Humbug!” with more feeling, Bob Cratchit (Jon Norman Schneider) has never been more patiently put-upon, and the rest of the cast, mostly playing multiple parts, is as lively as ever, bringing Dickens’s memorable characters wonderfully to life.

The familiar tale of a miser’s comeuppance is all there. The Ghost of Christmas Past reminds him how he gave up his youthful opportunities for happiness in order to pursue wealth; the Ghost of Christmas Present shows him how others, especially the Cratchits, live; and the Ghost of Christmas Future presents a frightening scenario that causes him to vow to change. Old Marley’s ghost (Frank X) is particularly effective and delivers my favorite line, the sententious “I wear the chain I forged in life.I made it link by link and yard by yard.” The early dark scenes change to light as Scrooge wakes Christmas morning a reformed man.

Underscoring the production’s goal of community engagement is the scheduling of a sensory-sensitive, relaxed matinee performance on December 28, to enable a wider range of people to enjoy a live performance. For tickets, call the box office at 609-258-2787 or visit the box office online.

Santa’s Bookshelf

Santa Claus, reading

Creative Commons License

Still looking for that perfect book for under the Christmas tree? Here are a few ideas for your weekend shopping that might suit some of the hard-to-buy for people on your list:

Film Noir Junkies – A.J. Finn filled his blockbuster psychological thriller, The Woman in the Window, with references to classic noir, and the main character watches quite a few too. And drinks Merlot by the case (trigger warning, Sideways fans).

Intrepid Travelers – if you can’t give a trip to Paris, you can give Mark Helprin’s Paris in the Present Tense. If they’re also classical music devotees, bonus points to you for finding this story about an aging cellist in the City of Light who really makes crime pay.

Jive-Talking Rap Music LoversRighteous or any of the other I.Q. books by Joe Ide. His characters’ language unspools across the page in pure urban poetry, as they solve crimes and right wrongs.

Unrepentant Bookworms – a book they can burrow into for days and maybe never sort out all the plot shenanigans, Lost Empress is about football, Rikers’ Island, a missing Salvador Dali painting, a man and his mom, transcribing 911 calls, Paterson, New Jersey, and so much, much more.

Armchair Psychologists – OK, does he have dementia or doesn’t he? Grace may not live long enough to find out on a Texas road trip with the elderly man she believes murdered her sister. Paper Ghosts is nice work from Julia Heaberlin.

Inveterate Classicists – David Hewson’s Juliet & Romeo is another in his fine adaptations of Shakespeare’s plays. Always inventive, always interesting. His Macbeth and Hamlet were winners too.

Road WarriorsShe Rides Shotgun is Jordan Harper’s award-winning debut thriller about a man and his young daughter on the run. They won’t be able to turn the pages fast enough.

Fairy Tale Fans – True, they may be startled at the liberties Karen Dionne took with Hans Christian Anderson’s tale, but in The Marsh King’s Daughter, she’s created a compelling story of a girl raised off the grid and what it takes for her to build a conventional life. Can she keep it?

Anyone Who Just Likes a Damn Good Book – You should get a twofer for Philip Kerr’s book Prussian Blue, which does a deep dive into both the dark days of the Third Reich and early 1950s France. Detective Bernie Gunther’s skill at solving murders doesn’t always make him friends.

A Sea of Blistered Tongues

Richard III, Laurence Olivier

Laurence Olivier as Richard III

Shakespeare scholar Stephen Greenblatt made an absorbing presentation last week, here in Princeton, based on his new book, Tyrant: Shakespeare on Politics. What Shakespeare has to say about pretty much any domain of human behavior is worth thinking about, and Greenblatt’s current preoccupation was clearly shared by his receptive audience.

He edged into the topic by describing how Shakespeare has been used in many countries and settings as a screen on which people may project their views about their own leaders—views that very often would cost them their freedom or more, if stated directly. Shakespeare’s notable tyrants—Macbeth, Coriolanus, Lear, and, especially, Richard III—become stand-ins for narcissistic demagogues across time and geography.

He highlighted the would-be king (and real-life character) Jack Cade, who appears in 2 Henry VI, as a populist leader deploying eerily familiar tactics. In Shakespeare’s dialog, Cade makes blatantly absurd promises to the rabble he incites, to wit:

“There shall be in England seven half-penny loaves sold for a penny;

The three-hooped pot shall have ten hoops;

And I will make it a felony to drink small [weak] beer. . . .

There shall be no money; all shall eat and drink on my score;

And I will apparel them all in one livery,

That they may agree like brothers and worship me their lord.”

This peroration is followed by what Greenblatt supposed (correctly in my case) was the only line most people can quote from that particular play, “The first thing we do, let’s kill all the lawyers.” Greenblatt says that, while the cheering rabble could not have truly believed these extravagant promises, their support for Cade was unwavering. Not until scheming Macbeth is exposed as a regicide and murderer, does Malcolm regret his former loyalty, saying, “This tyrant, whose sole name blisters our tongues, was once thought honest.”

Shakespeare’s tyrants arise in eras when, as the book blurb summarizes, “Cherished institutions seem fragile, political classes are in disarray, economic misery fuels populist anger, people knowingly accept being lied to, partisan rancor dominates, spectacular indecency rules.” Such fraught times inspired Shakespeare, as did the tyrants’ narcissistic personalities and the “cynicism and opportunism of the various enablers and hangers-on” surrounding them. These same forces, personalities, and motives give his work continued relevance.

Greenblatt sounded a discouraging note in saying that, while Shakespeare was brilliant at portraying causes and effects in his history plays, he does not point a way to solutions. “There aren’t any good ones,” he said. Yet, remarkably, civilization survived these conflicts and setbacks. On a more positive note, he concluded that what Shakespeare also teaches us is, “We are not alone.”

As an Amazon Associate I earn from qualifying purchases—a few pennies to put in a jar to pay my WordPress bills. When you purchase this book by clicking on the photo above, you help me fill the jar. Thank you!