A rare Shakespearean gem A rare Shakespearean gem (January 30, 2004)

Bus Barn solidly mounts one of the bard's last plays

by Jeanie Forte

"The Winter's Tale" has to be one of the most unusual plays that Shakespeare wrote, combining magical fantasy with romance and realism, tragedy with comedy, winter with summer, and spanning 16 years' time. He wrote it towards the end of his life, and was clearly experimenting with form, as he also did with "The Tempest."

The current production of this rarely-seen play at The Bus Barn Theatre in Los Altos presents the play at face-value, with little overlay of "concept" or embellishment, so that we can witness the unfolding of the story and appreciate its unusual features.

King Leontes (Noah James Butler) seems to have it all in his realm of Sicilia -- a beautiful wife, a clever son, a loyal court, and a pleasant long visit from his childhood friend, Polixenes, king of Bohemia (Frederik Goris). However, when Polixenes declares his need to depart, and Leontes' wife Hermione (Sylvia Burboeck), persuades him to stay a while longer, Leontes goes literally mad with jealousy, imagining even that Hermione's pregnancy is the result of an adulterous liaison with Polixenes.

Things go downhill from there -- Leontes engages his loyal servant, Camillo (Steve Lambert), to kill Polixenes, but they escape to Bohemia; convinced that Hermione plotted to help Polixenes escape, Leontes accuses her openly of adultery and treason, and has her thrown in prison; she gives birth to a daughter, whom Leontes orders killed by abandonment; and when the Oracle of Delphi confirms Hermione's innocence, Leontes refuses to believe it.

Apollo's wrath is swift; the young prince dies of heartbreak, and Hermione herself is reported dead from grief by her handmaiden, Paulina (Shelley Lynn Johnson). Leontes' remorse consumes him, fueled by Paulina's remonstrations, and he vows repentance.

Paulina's husband, Antigonus (Brian Benston), has meanwhile escaped with the baby princess to Bohemia, where he abandons her with provisions of gold and a certificate of her royal birth, in hopes that she will be found and raised in secret. Antigonus is promptly killed, but the babe is indeed found, by a comical Shepherd (Jim Johnson) and his even wackier son, aptly named Clown (Christian Thomas). They're delighted at their sudden change of fortunes, and just as happy to add a baby to their family.

Sixteen years pass, and the princess, Perdita (Melissa Condren), is being secretly wooed by Florizel (Joshua Hayden), prince of Bohemia, Polixenes' son. Were this a standard tragedy, we would follow these two star-crossed lovers to some untimely end.

But here's where Shakespeare breaks the mold, and suddenly switches to something akin to comedy. I say "akin", because even there, Shakespeare is tinkering -- ultimately, we'll have a happy ending, but it's modified by more twists and darkness along the way, and aided by a heavy dose of what appears to be magic.

I don't want to give away the ending, because chances are you don't know this particular play, and you should be surprised. I'm certain Shakespeare's audiences breathed an audible gasp of wonder at the end -- as the Bus Barn opening-night crowd did -- and were happy indeed that a story that begins so darkly should end in such lightness and love.

Bus Barn's production is sprinkled with sensational performances, especially by Butler and Burboeck as the unfortunate king and queen of Sicilia. Butler's jealous rage is palpable, invading his spirit and infecting his protected world with fatal illness. Butler manages to make the transition from doting husband to jealous monster believable, even though it seems to happen in an instant. Burboeck is luminous as Hermione, delivering an intense, deeply-felt monologue at her trial that moved me to tears on her behalf.

The show almost belongs to Shelley Lynn Johnson as Paulina -- the true heroine of the story, and a proto-feminist incarnation if ever there was one. Johnson aptly fills the role, revealing subtle emotional colors as Paulina manipulates, cajoles and commands. It's one of Shakespeare's strongest female roles, and Johnson luxuriates in it.

Other strong performances include Condren and Hayden as the delightful young royals in the flush of true love; Jim Johnson as the kindly shepherd, who here gets to reveal some serious acting chops; and Lambert, Benston and Nic Muntean as loyal courtiers who struggle to set their masters straight. Overall, the acting is solid, especially when the tone is serious.

I struggled with the interpretations of Autolycus (played by Bill Olson), a rogue whose knavery serves to complicate as well as elucidate matters, and also with that of Clown (Thomas). These two are meant as comic relief, but they were far too loud and broad to convey much humor. Both these men are fine actors, but here their interpretation misses the mark.

I also had trouble following the narration, partly because of the background music and partly because of the strange voice of Time (Jeremy Koerner), whose vocal timbre was hard to understand. Director Marcia Frederick's sets are visually interesting and make satisfying use of periaktoi , triangular rotating flats. The lush costumes and magical lighting effectively complement the story and characters.

I was thrilled to see this rare Shakespearean gem fully produced, and was not disappointed. Frederick and the BusBarn are to be commended for their fine realization of this ambitious piece.

What: Shakespeare's "The Winter's Tale," presented by Bus Barn Stage Company

Where: Bus Barn Theatre, 97 Hillview Ave. in Los Altos.

When: Through Feb. 14. Show times are 8 p.m. Thursdays through Saturdays, 3 p.m. on Feb. 1 and Feb. 8. A discussion will take place on Jan. 30.

Cost: Tickets are $25 for Thursdays through Saturdays; $20 for Sundays.

Info: Please call (650) 941-0551 or visit www.busbarn.org

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