13 – 28 May 2022 - Central Gallery - Tasmanian Museum and Arts Gallery
“Audiences are our life force. The pandemic has tested the old theatrical adage “The show must go on”. Small/medium theatre companies around the world are buckling under organisational fatigue cancelling shows and trying to find new ways to produce work when the added cost and complication of standby cast and crew is not a financial option. I’m not trying to fill you with doom and gloom but set the “behind the scene” scene.
If you are reading this then we have prevailed for The Winter’s Tale and that is due to a couple of things; the support of Arts Tasmania through their Live Performance Support Program, which gave us the confidence to proceed. Thank you.
And the incredible skill, professionalism and teamwork of the cast and crew who have continually adapted to changing circumstances, supporting each other, making “above and beyond” sacrifices to ensure that the show does go on. Thank you.”
Leontes, King of Sicilia, rips his family apart with his jealousy. Sixteen years later and half a continent away, only the passion of two young lovers – and the interventions of a bear, a clown, and a ballad-singing would-be master-thief – can lead to redemption and reconciliation.
Following his celebrated TMAG productions of The Tempest and Hamlet, Robert Jarman returns to the Museum with one of Shakespeare’s most wildly fantastical tales: a mix of high tragedy, low comedy, birth, death and hard-won joy.
Directed by Robert Jarman
Cast
Brett Rogers
Guy Hooper
Jane Johnson
Jane Longhurst
Matt Newell
Matthew Stolp
Melissa King
Robert Maxwell
Sara Cooper
Scott Farrow
Musicians
Rachel Meyers
Dave McNamara
Producer Production Manager - Lucinda Toynbee Wilson
Costume Designer - William Dowd
Stage Manager - Andrew Casey
Assistant Stage Manager - Luke Leitch
Arts Hub Review
The Winter’s Tale - Review by Meg Bignell 25/5/2022
On the coldest night of the year so far I left my fireside and headed out into the still mists of Hobart to watch Blue Cow Theatre’s latest Shakespeare production, The Winter’s Tale. This is one of Blue Cow’s productions performed in the main gallery at the TMAG, so loved for their vibrancy and intimacy and unexpected interpretations of Shakespeare’s plays.
There, I was quickly transported into the court of Queen Hermione and her jealous husband King Leontes. The seating is limited and close. So close the audience is almost part of the set and the fourth wall not quite there. This is not uncomfortable but inclusive. At times (particularly for someone a bit in love with being on the stage) it was thrilling. When Leontes transforms from generous host to scary paranoid twat, I felt I could very nearly reach out to Hermione and say, ‘Babes, leave him. And don’t look back.’
She doesn’t. And she does. (I love a cryptic spoiler.)
This production is told in two acts, with a thirty-minute interval (complete with hot soup and/or Tasmanian wine). The first act presents all the rich tones and grandiose philosophies one would expect from Shakespeare: ‘Is this nothing? Why then the world and all that’s in’t is nothing: The covering sky is nothing, Bohemia nothing’ - Leontes, Act 1, Sc 2.
The second act breaks the wrought-up tension and darkness with a startling, welcome trip into absurdism and familiar, Aussie humour. Yes, Aussie. Suddenly there are flannies and mullets and beers and Jane Longhurst is a sheep. (All the sheep nearly stole the show, along with Scott Farrow’s bottom.) We’ve all met a bloke like Guy Hooper’s kindly shepherd, and Mel King’s dodgy peddler. The nuance is multi-layered, the wit sharp and the comic timing perfect. Director Robert Jarman has seamlessly threaded expressions such as ‘you beaut’, ‘boofhead’ and ‘phwoar’ into classic Shakespeare, and I’m there for it. I reckon Willy S would be too (he started it with ‘bull’s pizzle’ after all).
None of this detracts from the story, which somehow draws to a moving conclusion and left me contemplating the power of kindness and the (possibly foolhardy) human capacity for forgiveness.
The performances are wonderful, from Sara Cooper’s heart-wrenching, courageous Hermione to Robert Maxwell’s tortured Leontes. Special mention to Matt Newell’s beautifully expressive face, Matthew Stolp’s comic brilliance, Jane Johnson’s energy, Jane Longhurt’s warmth and Brett Roger’s presence (also that perfect hair!). They are all remarkable and they all shape-shift into their contrasting roles with apparent ease.
Just two complaints - my hands hurt from clapping, and I must wait to see what’s next from talented producer Lucinda Toynbee Wilson and the wild imagination of director Robert Jarman. Bravo.
SPECIAL THANKS
Lisa Gormley – Missed ya
Michael McLaughlin & The team at TMAG
Adrian Smith – Yes everywhere man & CorComms
Greg Methé – artist, maker and problem solver
REACT Drama Studio & their students for putting up with our rehearsal mess
Simon Bevan – Mercury Walsh | Pia Howells - Blundstone | Rose Treanor – Henry Jones Art Hotel
Jill Pierce – Tasman Peninsula Master Community Coordinator
Jessica Coughlan– Cygnet Arts Council Community Coordinator and Magician
Deadloch Andy – sharing the pain
Dave Pyefinch & Andrew Wilson– for making us look good
Suzie O'Dell of Foodkind | Arad Niksefat of Persia's Pantry - nourishment
Theatre Royal – drapes which saved us thanks Nick
All Saints Church South Hobart | Christopher Waterhouse
Brian Wilson – Master Model Boat Builder | Meredith Croaker – ruffs galore
Terrapin – bear head grrr | Old Nick Company – Dolly wigs | John X Presents
Marketing support for this project thanks to the Australian Regional Arts Fund, which supports the arts in regional and remote Australia