A Cheek by Jowl production is always full on and very theatrical, the company thrives on ideas and effects which can only be done in a live setting, using physical theatre and always prepared to take chances. Their production of Shakespeare’s The Winter’s Tale which was live streamed from Silk Street Theatre in London was no exception. I had some reservations- that almost always comes alongside risk taking- but overall it was an exciting and vibrant account of the play which resolved itself beautifully into harmony and forgiveness at the end.
There was no problem with Leontes sudden irrational jealousy in the opening scenes as it was made very clear by both the staging and by Orlando James fine performance that Leontes is suffering an episode of mental illness of some kind. He creates his wife’s infidelity in his own head and this is symbolised by having him create pictures of what he imagines by moving the bodies of Hermione and Polixenes into the compromising positions which he describes. It is a very effective device and Orlando James has extraordinary technical control as he does it while acting at a full pitch of emotion. His son Mamillius also has behaviour problems and Hermione’s quiet attempts to calm both of them- something that is obviously part of daily life in their household- are very telling. It really works, making sense of the difficult opening scenes and drawing us into a family that has been ready to implode for a long time. The first half zips along as we watch that implosion take place. Natalie Radmall- Quirke’s Hermione was especially strong and moving in the trial scene. It’s a gift of a scene for any actress and she made the most of it.
In the second half we were given a more decadent and wilful Bohemia than is usual. You could easily see why Florizel’s father was worried about his son leaving court to spend time there. There was danger, violence and licence at the sheep shearing celebration, these were not just well meaning homely peasants enjoying the simple life. There is always a dangerous side to Autolycus- the picker up of other people’s trifles- but in this production it spills over into brutality. While I liked Ryan Donaldson’s performance I wasn’t sure about that decision. I missed that open hearted freedom of Bohemia which is such a relief after the grey, irrational, claustrophobic court. Thankfully there was a wonderful Perdita, Eleanor McLoughlin, who had a strong, calm presence, absolutely believable as the daughter of Hermione.
The final scene where things are resolved and Hermione’s statue comes to life after all Leonte’s hope has gone and he has learned his lesson after long years of pain have passed was as magical as you could wish it to be. It was simply staged by candlelight, which is all it needs, and the reactions of all the company were true and heartfelt. The calm after the storm.
Declan Donnelan’s direction- particularly in those opening scenes- is masterly. It is always clear what he is aiming for and it never gets in the way of the performances. Cheek by Jowl has a long tradition of getting excellent young actors to work with them and it is easy to see why they would be attracted to the company. Nick Ormerod’s design is stark and simple, three raised wooden stage areas with wooden slatted drop down fronts behind an empty space. They are flexible enough to allow a variety of effects but there is nothing that isn’t needed- Edward Gordon Craig would have been proud. I have never seen the exit pursued by a bear done better.
It was a great treat to be given the chance to see the production by live relay without paying a penny. As ever I wish I could have been there but you can’t have everything.