Goodman Theatre’s staging of The Winter’s Tale, loaded with spectacle, would have seemed ridiculous and even unanchored 20 years ago. But with the surging popularity of those magical realms in the movies of the Marvel Universe – Black Panther, Captain Marvel, Avengers: Endgame - where characters die, then return, and are repeatedly transformed – well, director Robert Fall’s almost (but not quite) overwrought effort fits our times perfectly.

The Winter’s Tale was one of Shakespeare final works, and it is a unique form (perhaps why it is produced less often), neither a comedy nor a tragedy, but devised as a romance.
Unlike the powerful plays that are channeled intellectually to our emotions through telling dialog, as in the tragic Hamlet or comic Taming of the Shrew, The Winter’s Tale was meant as a theatrical confection, and entertains us more than it sways us.

In Goodman Theatre’s magnificent production, director Robert Falls has given us spectacle – five acts delivered as a series of elegant vignettes, presenting different facets of Shakespeare’s spin on several forms: Tragedy, Greek Drama, Pastoral Romance, Comedy & Clowning. At first, I admit I was suspicious of it all, wondering whether Goodman had bankrolled an overproduced folly. But by degrees I came to appreciate Falls' vision, and fell for it.

The Winter’s Tale opens with a brewing tragedy among royals – the deeply bonded kings of Bohemia and Sicilia are like brothers, who have a falling out, leading to tragic consequences and suffering. But Shakespeare uses the stuff of this tragedy as a formula: we are meant to behold the key points of very bad things happening.

For this, Falls puts the cast in contemporary evening wear and paper crowns – suggesting through what is almost a cliché in contemporary Shakespeare style, that this is a throwaway tragedy. The cast delivers it’s Elizabethan dialog persuasively. But the rather convoluted sequence of events is more like an exaggerated operatic storyline, than compelling trough of sorrow.

In a nutshell, Leontes (Dan Donohue - he was Scar in Lion King!) King of Sicilia becomes jealous of his pregnant wife Hermione (Kate Fry) and of his dearest friend, Polixenes (Nathan Hosner), the King of Bohemia, who he deems are cheating on him. Leontes shifts with inexplicable rapidity from bosom buddy to enraged adversary, though friends and advisers try to soothe him. Hermione delivers the baby, and Leontes puts her on trial, and sends the infant girl to die in the wilderness – of Bohemia. Oh and his young son Mamillius (Charlie Herman) dies, leaving Leontes heirless.

Subsequent scenes, including the trial of Hermione, now are given the look of Greek drama, or, Game of Thrones as suggested by the costume of Leontes steward, Paulina (Christiana Clark is a dramatic force). Hermione’s fate is sealed by Leontes' edict, but an appeal is made to consult the Oracle at Delphos on whether his jealousy is misplaced.

The play transitions a more pastoral setting, in wilds of the Kingdom of Bohemia, where the baby in the basket is threatened by a bear – played with convincing ferociousness by Mark Lancaster. The baby is saved when the bear chases after someone else (“Exit, pursued by bear” is the script line).

The curtain falls. And when it rises, we are greeted by a transitional interlude, with the character Time and letting us know in metered verse the clock has moved forward 16 years. This precious scene is like an elaborate decorative embellishment in an antiquarian book, letting us know we are entering a new episode.

The next parts of the play brings us to the pastoral setting of the Kingdom of Bohemia, and Falls gives us celebratory scenes following a sheep shearing, with bales of wool stacked high, and ala Nutcracker, a giant sheep and sheers. Against the setting of plenty we meet the surviving infant, Perdita (Chloe Baldwin) now a teenaged girl, and her boyfriend, Florizel (Xavier Bluell, who brings a real freshness and spark to his role). We are greeted by delightful scenes, and eventually the play makes it’s way back to the Kingdom of Sicilia, for a magical resolution in which all is forgiven, though not all live happily ever after.

For Shakespeare fans this production of a rarity makes The Winter’s Tale must viewing. But anyone who comes will find themselves richly rewarded. It runs through June 9 at Goodman Theatre.