The Winter's Tale

The success of any production depends heavily upon the portrayal of Leontes. The extent to which Queen Hermione is innocent, and to which Leontes’ accusations are unfounded, rather destroys any sense of intrigue. When Leontes asks his subject Camillo if he hasn’t seen the signs of Hermione’s infidelity, his answer can only be ‘no’, because there haven’t been any.

As a result, the interest lies in how one person’s fanaticism is manifested and responded to. In this instance, we are kept hooked by the performance of Greg Hicks as Leontes. His slight figure interacts with a voice of venom and shrewd body language – all stooping and arm gestures – to leave us shaking at the unjustness and repercussions of his actions.

The repercussions are deadly precisely because his subjects must either obey his orders or commit treason. As a result, the success of anyone else’s performance can largely be measured by how in tune it seems with Hicks’ own. As Queen Hermione Kelly Hunter provides a convincing portrayal of a naturally feisty character reduced to a wreck by Leontes’ accusations. As Paulina, Noma Dumezweni is outstanding as the counterbalance to Hicks in the extent to which she stands up to Leontes. Though going through many emotions, Darrell D’Silva still feels slightly too hearty as Polixenes to blend, but the servants effectively capture the nature of their dilemma. They feel embarrassed to hold Paulina back from petitioning the King, and only too happy to fold when she throws them off.

After such an effective first half, Act Four, which begins the long road back from the brink with festivities and merriment, sees the RSC in sturdy rather than brilliant form. But John Bausor introduces some impressive stage effects, and as the drama works towards the final reconciliation the potency returns in breathtaking fashion. The Winter’s Tale is not the most popular of Shakespeare plays, which could make this production the hidden gem of the RSC in London season.

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