This semester, Brandeis’ own Hold Thy Peace has put on a production of one of William Shakespeare’s “problem plays”: “The Winter’s Tale.” A play dubbed problematic not for its content, but for its unclear genre—with the first three acts featuring intense drama and many deaths and the last two acts being full of comedy, love, and a happy ending. Director Naomi Stephenson ’26 suggests a solution to this conundrum in her version of the play. She adds a level of comedy to the first few acts, which helps to bridge the gap between later ones. She is assisted in this feat by the talents of Laurel Kane ’26, who plays Leontes. Kane manages to toe the line between properly portraying the dark themes and insanity of King Leontes and introducing an underlying comedic element which is expanded upon post intermission.
The other actors in the cast each bring something different to their respective roles which makes the play feel alive. Maya Gonta ’28 portrays a variety of characters, Paulina, Dorcas, and Time; and does so with a level of intensity that pulls the audience in. Her deeply serious portrayal of her roles could have felt disjointed from the rest of the characters, yet the way the other actors engage with her characters make it feel like a decision rather than an accent. A decision which adds a level of emotional intensity to the first three acts. This is especially true due to the many serious monologues the character Paulina delivers.
Other notable performances include Elijah Operhall ’28 as Camillo and Cleomenes, Gabi Steagall ’29 as Perdita and young Mamillius, and Ellen Richards ’27 as Emilia and Mopsa. Operhall portrays a rather convincing Camillo, full of loyal anxiety in the first half and a longing to return home in the second. Steagall transforms from the tragic young prince Mamillius into the beautiful Perdita in a way which convinced me that they were played by separate people until glancing at the program. And Richards, while subdued in many ways, brings a level of depth and a feeling of a true internal world to her characters.
Outside of the acting, the costumes, sound, lighting, and props were fantastic. The costumes had a lot riding on them, as much of the 1950s aesthetic of the production was reliant on the dress of the characters. Costumer Elizabeth Retakh ’28 and assistant costumer Michal Ditkoff ’28 did not disappoint. The first half of the play is full of fantastic suits and decade-accurate dresses, and the second half features a variety of colors and classic hippy garb. Together, the two sets of costumes create a clear image of Cold War America without directly stating it. This is assisted through the wonderful sound design done by Eva “Ev” Levine ’28. With a collection of ’50s and ’60s classics, audio clips from the era, intense sound effects, and recorded audio, Levine manages to set you in the world of the show simply through sound.
While the show is beyond recommendable, it is important to acknowledge the few shortcomings that did exist. Before I delve in too much, I want to acknowledge that it is entirely possible that some of my comments could be caused by mechanical issues beyond the control of the production staff. However, I hope that anything denoted here that may be caused by equipment might encourage the administration to put some money towards renovating the SCC theatre.
The central flaw of the production rests almost entirely in the first half of the play, that being a lack of movement during certain scenes. While it is clear that some actors, such as Kane, are very comfortable making big movement decisions, others seemed more hesitant. This can be expected from newer actors and isn’t hugely detrimental to the show; however, it was distracting, especially in scenes with fewer characters on stage. Thankfully, the second half of the show faced no signs of this problem. This can potentially be attributed to the dance numbers, fuller set, and larger number of characters on stage on average.
Outside of the movement problem, there were minor sound issues including a light buzzing sound in certain parts of the auditorium and problems picking up some actors’ lines, as well as small problems with the fit of certain costume pieces. However, as previously mentioned, these problems seem more attributable to older equipment and a tight budget. Despite these small aspects that one would likely miss if not looking to write a review, the technical aspects of the production were all around delightful.
All together, this production of “The Winter’s Tale” managed to take what could be a challenging play, due to its shifting genre and mood, and made something deeply engaging. Everyone involved in this production should feel very proud of the work they put into it. I look forward to the next endeavor from Hold Thy Peace.
Ev Levine was not a part of the writing or editing of this piece.
