New York Arts > Declan Donnellan
The Winter’s Tale has had a checkered career over the centuries. Its bipartite structure, with two lines of action, separated by many years, of strongly contrasting character offended the Aristotelian canon all-too-blatantly for the classicizing generations of the Restoration and Enlightenment. Acts I through III have every promise of ending with the most bitterly tragic outcome. This current is diverted to a happy ending in the last two acts, introduced by yet a third genre, the pastoral, in a staged enactment of a sheep-shearing festival. When the play began to find its way to the stage in the later eighteenth and nineteenth centuries, producers and actors saw in it a vehicle for over-the-top, classically inspired spectacle, as well as one of the great Shakespearean roles, Leontes, who is Iago and Othello rolled into one. It provided a powerful vehicle for Garrick, Kemble, and Kean. And three rich female roles as well, None of which were lost on the great actresses of the past 250 years.