Face it — whenever Shakespeare’s immortal one-liners come up, who cares if Hamlet blathers on about “to be or not to be,” or whether some are born great, become great, or have greatness thrust upon ’em? Because one of the Bard’s greatest lines wasn’t even spoken by anybody onstage; it was just a note for the stage manager about a bit of blocking, to wit: “Exit, pursued by bear.”
I mean, a bear? Onstage!?!
Admit it — you’ve always wanted to see this done live, right? Well, now’s your chance. And when it’s over, the bear will loom large in your memory, but so will the rest of the American Shakespeare Center’s brilliant production of Shakespeare’s The Winter’s Tale. Director Raphael Emmanuel makes the most of this exotic play with its international setting, and gives its characters a contemporary, truly soulful twist.
From the minute the cast dives into the preshow tunes, with Marvin Gaye’s immortal “I Heard It Through the Grapevine,” you’ll find yourself immersed in a world of familiar emotions — jealousy, hatred, regret — and the emotional pitch, toggling as it does between tragedy and comedy, remains high throughout. This is a play that, confusing on the page, must be seen live to be enjoyed, and the ASC’s repertory company navigates its many twists and turns with great skill indeed.
Anchoring our journey is the royal couple of Sicilia, Leontes — the bold, forceful Jordan Friend — and his queen Hermione — played with grace and profound emotion by Raven Lorraine. When Leontes suspects his pregnant wife has been sleeping with his best friend, Bohemian King Polixenes (the cool, measured L James), and that her baby-to-be might not be his own, Leontes erupts into a jealous rage of the kind we know too well.
Leontes’ must trusted aides — Antigonus and Paulina — make a strong argument for Hermione’s innocence, and Angela Iannone and Sara J. Griffin are standouts for their gravitas and their passion for justice. And Hermione’s statement — this is not a plea, it’s a statement — of her innocence is moving in its simplicity; Lorraine’s delivery is one of the pivotal moments here.
This being set in pre-Christian times, the oracle of the god Apollo at Delphi is consulted; and this being a play, the trip from Sicilia to Greece and back takes minutes rather than months. And when Leontes rejects the god’s judgment, divine vengeance takes its toll on him with equal speed. His rage is converted instantly to grief and bottomless regret, and the rest of the play deals with the question of whether and how he can atone and perhaps reconcile with his beloved wife.
The Winter’s Tale is a sprawling story that toggles back and forth between a staid, proper Sicilia and a hip, somewhat hazily conceived Bohemia (i.e., it ain’t got no sea ports, and it sure ain’t got no navy; it’s landlocked — look it up). Emmanuel saves the visual delights of this production for our journey to his African-American take on Bohemia, with the balcony decked out in vinyl LPs and paintings unfurled along the railings inspired by Jacob Lawrence (be sure to look up his amazing work before you go).
Once in Bohemia, you’ll also find that costume designer Elizabeth Wislar has pulled out the stops with some of the most exotic, Eastern European–inspired pieces you’ll see this side of Appalachia. She creates a feast for the eyes to match the words and actions.
Bohemia proves as carefree and hilarious as Sicilia is dark and brooding, and it is here that the virtuosity of two of the ASC’s players is proven beyond a doubt. For no sooner has Raven Lorraine’s stately Hermione (apparently) died than she wanders into the audience as an Old Shepherd. The same actress who, moments ago, nearly brought you to tears now has you laughing your tail off with her antics and her thick, thick accent.
Joining her in her funny business is Angela Iannone, who likewise makes that astonishing switch that only true actors can make; one minute she holds the stage as Leontes’ chief of staff Antigonus, and the next she is the hickest of hicks, rivaling Lorraine in the thickness of her dialect and her talent for physical comedy. It is these two bumpkins who discover Hermione’s doomed baby, complete with letters detailing her true identity — Perdita, princess of Sicilia — and who proceed to live pretty high on the hog with the gold that has been left with that baby.
Since the play requires some 16 years to resolve itself, Shakespeare introduces the character of Time, who, decked in a blazing yellow zoot suit, informs us he’s going to just tip over that hourglass for us. Geoffrey Warren Barnes II gives us this brash showman, and re-enters soon after as the rascal Autolycus, whose thieving habits unintentionally resolve a lot of the plot’s issues.
A romance ensues in Bohemia between Prince Florizel (the solid Komi M. Gbeblewou) and the now-grown, seemingly common shepherd’s daughter, Perdita (gracefully played by Corrie Green). This plot twist, of course, creates new complications that can only be resolved through Shakespeare’s traditional twists and turns.
Among the many pleasures of any ASC production is the musical pre-show and intermission, with songs that suit the themes of The Winter’s Tale in a very contemporary way. We get treated to a slide guitar, played skillfully by Jordan Friend as he sings Wolf Parade’s “Grounds for Divorce” (as fitting a tune for Leontes as can be). And there is also ample room to tip the hat toward Harlem, with Fats Waller’s “Ain’t Misbehavin,” while Cole Porter’s “What Is This Thing Called Love?” made immortal by Ella Fitzgerald, sets the tone for the play’s denouement.
Shakespeare’s later plays were, dramatically and geographically, all over the map; and The Winter’s Tale is designed to astonish you with its virtuosity; he pulls it off, of course, but only because the ASC’s repertory company knows how it’s done. This production will take you on an emotional rollercoaster, which, with its theme of unfounded suspicion, reflects in interesting ways on our own times. Well worth the journey, both the play and Staunton, Virginia, itself.
On a personal note: It’s always inspiring to see how the ASC opens its doors to aspiring young artists, and on the night I was there, I got to see the next generation of stage performers, many of them sitting on the stage and taking part in the action. ASC hosts two Theatre Camps for teenagers, and each year the camps are grouped around specific plays and themes (this year it’s the history plays!). Have a look at this year’s program here, and think of a special young person in your life who might get a kick out of a three-week, residential intensive!
And if you’re just a touch beyond your teenage years, as (ahem) I might be, do not despair; the ASC also offers week-long “No Kidding” workshops for adults, where you can do a crash course in the unique Blackfriars techniques of performing Shakespeare. The more mature among you may wish to visit here as well.
Running Time: Two hours and 20 minutes, including one intermission.
The Winter’s Tale plays through August 2, 2025, in repertory with Sense and Sensibility (through August 2), presented by American Shakespeare Center at the Blackfriars Playhouse, 10 South Market Street, Staunton, VA. For tickets (starting at $39), call the box office at (540) 851-3400 or purchase them online. ASC also offers a Local Rush deal of 50% off tickets on Wednesdays and Thursdays. Learn more here.
The summer program is online here.
Cast and artistic team credits for The Winter’s Tale are online here (scroll down).
SEE ALSO:
American Shakespeare Center’s ‘Sense and Sensibility,’ up close and relatable (review by Andrew Walker White, May 10, 2025)
