THE BASICS: William Shakespeare’s “The Winter’s Tale,” presented by Shakespeare In Delaware Park, running from June 20 through July 14, 2024, every Tuesday through Sunday at 7:00 pm on Shakespeare Hill at the Saul Elkin Stage. Admission is Free; however, the very grateful cast come around during intermission to collect goodwill donations, so bring a little cash if you are generous. Souvenirs available at the kiosk before entering. Bring your own blanket or folding chair and a sweater or light jacket since temperatures do drop after dark. For information, call (716) 856-4533 or visit shakespeareindelawarepark.org.
RUNTIME: 2 Hours and 45 minutes including one 15-minute intermission.
THUMBNAIL SKETCH: “The Winter’s Tale” is a masterful blend of tragedy, comedy, and romance featuring themes of jealousy, betrayal, redemption, and the enduring power of love.
THE PLAYERS, THE PLAY, AND THE PRODUCTION:
“The Winter’s Tale” is one of the last plays written by Shakespeare. What an odd and curious offering it is: A tale that begins with severe rage and tragedy, then shifts abruptly to romance and comedy. I can’t recall the last time I saw it on stage, except for a very entertaining musical version in 2014 at NYC’s Central Park famed venue, the Delacorte Theatre. It starred the fabulous Lindsay Mendez, David Turner, Christopher Fitzgerald, and Isaiah Johnson with music by Todd Almond. It also had fun cameos by NYC groups like Sesame Street, NYC Ballet, and Rosie’s Theater Kids, to name a few.
Mastering the play’s split personality and segue from grim darkness to sunshine is quite a challenge. The Shakespeare in Delaware Park company certainly deserves praise for managing it so gracefully, in this new production of “The Winter’s Tale”.
The director, Kate Powers, and a cast of seasoned WNY actors are especially attuned to the more problematic first half of the divided plot: The costumes, especially adorned by the female characters, are vivid and striking in contrast to the minimalist drab set. King Leontes of Sicily (Daniel Lendzian) is suddenly consumed with toxic jealousy when his old friend Polixenes (Todd Benzin), King of Bohemia, gets too cozy with Leontes’ lovely (and very pregnant) Queen, Hermione (VerNia Garvin).
Lendzian as Leontes gives another masterful performance. The last time I had the privilege of seeing him on stage was as Albin/Zsa Zsa, the aging star of “La Cage aux Folles,” which he was brilliant in. He is the most versatile male actor in town. It’s a crime and a shame he was not even nominated for an Artie Award for that role. Daniel has the Shakespeare chops to inhabit this mad man so intelligibly and completely, we seem to be watching him lose his grip, wit by wit. “Too hot, too hot,” he hisses, mistaking innocent affection for infidelity. “To mingle friendship far is mingling bloods.”
Incendiary jealousy, both sexual and political, is a common theme in Shakespeare’s canon (and in human nature). But here there is no diabolical Iago to goad Leontes on. The man whips himself into a froth, in soliloquies that spin paranoia and disgust into hysteria.
Lendzian speaks the verse with fluid naturalness, and doesn’t just blast off, he travels through the suspicion, to insecurity, to incredulity, on his way up to diabolical vengeance. Lendzian is the main reason to see this show although there are many. He portrays Leontes with great passion. His convincing transformation into a man consumed and possessed by his inner demons and then morphing into a repentant King, Husband, and Father is as smooth as butter.
Hermione’s unblemished marital loyalty, and her terror, as hysteria hardens into cruelty, are also expressed believably and articulately by a radiant VerNia Garvin as are the shock and concern of Todd Benzin’s Polixenes.
It isn’t until he offends the gods and is berated by Hermione’s astute lady-in-waiting that Leontes comes to his senses – but only after suffering inestimable loss.
Then Mr. Shakespeare slyly changes gears. On a mission of mercy in Bohemia to save a banished babe, Leontes’ courtier meets his doom in a stroke of outrageousness. (One of the best stage directions ever? “Exit, pursued by a bear.”) The Bear is also played gleefully by Lendzian.
That cues the rural romping to kick in, as father-and-son shepherds played most enjoyably by the charming Michael Starzynski and an irrepressible and utterly adorable Phil Wackerfuss; they are hilarious rustic clowns or country bumpkins, who become instant foster parents. Mr. Wackerfuss dazzles with his adept physicality; this man is Gumby-limber, quirky, and fascinating to watch. Every time he was on stage, my eyes followed him with adoring devotion. Oh, and he is funny too.
We then leap forward in time about 16 years to their charming daughter/sister Perdita (an incandescent Gabriella McKinley) and her sweetheart Florizel (the handsome and playful Jake Hayes) having a blast at a sheep-shearing carnival.
These are two of Buffalo’s finest; watching them frolic and cavort on stage was a highlight in the play and a treat for me personally because I adore both. McKinley, fresh off her Artie Award-winning turn as Celie in “The Color Purple”, and seemingly with great ease, can play any role she tackles brilliantly. Whether it’s drama, comedy, or a musical, she is engrossing and triumphant.
Just like in “As You Like It”, Shakespeare has again contrasted the more rigid, formal world of the court with the festive, earthy spirit of the countryside. By linking and reconciling the two through love and marriage, rifts heal, and royal families are united. Here, combining dance, music, and singing adds to the dynamic of the piece and shows the musical skills of the actors, blending brilliantly with the somber aspects of the story. Kerrykate Abel Smith particularly shines as Autolycus as she dazzles us with her diva extraordinaire vocals and commanding stage presence.
This production features prominently the two themes that make this play a powerful and moving story: Jealousy with its sorrowful mood in the beginning half and redemption with a jovial tone in the later half. Bringing Hermione back to life (spoiler alert, she dies) is a poignant element used by Shakespeare to talk to the audience at an intimate level. The play’s magical resurrection reflects our enduring hope for a second chance, despite it being an impossibility.
This skillful and effective production accepts that fairy-tale tradition, and the artifice of a back-from-the-dead ending. We’ve crossed over from tragedy to classic comedy, and it’s been a most joyful journey.
HERD OF BUFFALO RATING SYSTEM
FIVE BUFFALO: Universal Appeal! This production is pure theatrical magic – a crowd-pleaser. No prior theatre experience is necessary. Whether it’s a laugh-out-loud comedy or a heartwarming drama, this show offers an unforgettable shared experience. You’ll laugh, be touched, or amazed (depending on the genre). Grab your tickets before they disappear!
FOUR BUFFALO: Highly Recommended! This production delivers high-quality entertainment. It may have a strong script and stellar performances. While it might not be for everyone, theatre fans and those interested in the style, themes, or genre are sure to be delighted. Gather your friends or grab a date – you won’t be disappointed you went!
THREE BUFFALO: A Solid Night Out! This is a solid production and enjoyable evening at the theater. It’s a strong choice for a night out. Roam over and check it out if you can!
TWO BUFFALO: Intriguing! This production may not appeal to all tastes. However, if you’re feeling adventurous and want to blaze your own theatrical trail, this production offers a unique experience. While it may have some minor imperfections, if the genre, themes, and style align with your interests you should defintely attend!
ONE BUFFALO: If you love Theatre…Although it won’t resonate with everyone, it offers a challenging and stimulating experience. Traditional theatergoers might find it difficult to follow. While it will undoubtedly spark conversation, consider the genre, themes, and style before attending.
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