Theater review: Shakespeare Company captures inherent discordance of ‘The Winter’s Tale’

In the realm of modern audiences and critics, William Shakespeare’s “The Winter’s Tale” emerges as an intriguingly discordant masterpiece.

The very title suggests a whimsical fable, a tale spun to enliven winter evenings.

Yet, its first half unfurls a profoundly nuanced exploration of Leontes’ jealousy, a tour de force in delving into human psychology, showcasing an unrelenting intensity and realism.

This segment also serves as a potent portrayal of the perils and responsibilities inherent in monarchy, echoing the themes of Shakespeare’s “King Lear.” Here lies the conundrum: Why does the play take a sudden turn in its conclusion? Why does Shakespeare, having meticulously constructed tragic momentum over the initial three acts, choose to disarm it with fantastical elements and magic in the final two acts?

In the Long Beach Shakespeare Company’s production, helmed by director Lauren Johansen, these disparate tones within the play are not forcefully melded together. Instead, Johansen seemed to embrace each facet, allowing the raw intensity of the first acts to coexist with the comedic enchantment of the latter ones.

The cast, displaying remarkable cohesion, shone with a collective strength — a new hallmark of this theater company. Amid this ensemble, two performances stood out distinctly. Anastasia Cabaj’s portrayal of Hermione traced the poignant journey from a commanding queen to a vulnerable prisoner, an interpretation so moving it evokes tears. Equally astonishing was Amazing Oakes as Paulina, whose mastery of Shakespearean dialogue continues to decipher its complexities even for the uninitiated ear.

The scenic design, by Jason Sheppard, made effective use of the limited space, providing a backdrop that facilitated the play’s distinct atmospheres. Unfortunately, the intricate scene shifts must be carried out exactingly as there is very little room for error, as there is very little space, and the lack of both lead to a couple of uncomfortable scene shifts.

Costume designer Orion Dickey ventured into a fantasy Renaissance realm, evoking a sort of video game aesthetic. While this choice imbued the production with an otherworldly quality, some of the costumes could have benefited from additional structural support to enhance the actresses’ appearances.

Verisimilitude is one of the goals we often seek on the stage; we want something to feel like life, in as honest a way as possible, even if the story we are telling is fantastical or mythological.

What we frequently find ourselves locked into is one tone and when we interject other aspects of life, it’s jarring. Life is jarring, life is tonally deaf, so it is perhaps that we seek to look at only one facet at a time on stage as a way to compensate for real life’s constant shifting.

This notion resonates with the essence of “The Winter’s Tale,” whose abrupt shifts in tone mimic the unpredictable fluctuations of real life. In the midst of apparent desolation, life frequently unravels surprising resolutions, urging us to confront the interplay of intense human emotions and the fantastical elements that weave through our own narratives.

The cast’s dedication and Johansen’s insightful direction showcase the essence of the play, capturing its inherent discordance as a mirror to life’s unpredictable course.

The other show opening this weekend is “Exit Wounds” at International City Theatre. Look for that review next week.

When: Through Sept. 16

Where: Helen Borgers Theatre, 4250 Atlantic Ave.

Cost: $23 general admission, $13 for students

Information: lbshakespeare.org

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