Radical, Accessible Shakespeare Rebuilds Hope
Aladeen Tawfeek as Polixenes and Briauna James as Hermione
This summer, Repercussion Theatre is back for their annual Shakespeare-in-the-Park tour with performances of the Bard’s The Winter’s Tale. The theatre company, which has been at the heart of Montreal’s theatre community since 1988, claims that their mission is “to deliver professional, classically based, visually dynamic theatre that is accessible to all, regardless of income, culture, language, age or education”, and this year’s show more than achieves that goal.
The Winter’s Tale, first performed in 1611, is one of the final plays of William Shakespeare’s career, and scholars have continued to disagree about how to categorize it. While the first three acts are full of traditionally tragic elements—betrayal, tyranny, and death—the latter two focus on love stories between parents, children, lovers, and friends. First believed to be a comedy or romance, some prefer to label it a ‘problem play’ given its seemingly disjointed nature. The actors at Repercussion ensure, however, that the viewing experience is seamless and enjoyable throughout their performance. Regarding the uncategorizable nature of this play, the theatre company asserts that “we believe that actually makes it perfect for this historical moment, in which it feels like progress and cooperation isn’t possible, exactly when the tyranny of nationalism and greed need to be met with coming together; when hope can tend to feel naive.”
The play opens with the king of Sicilia, Leontes (Quincy Armorer), accusing his wife Hermione (Briauna James) of having an affair with his closest friend Polixenes (Aladeen Tawfeek), king of Bohemia. He calls for the assassination of Polixenes, who swiftly escapes, and imprisons the queen until he can consult Apollo’s oracle for the truth of the matter. While imprisoned, Hermione gives birth to a daughter, Perdita (Métushalème Dary), whom Leontes banishes, as he believes that the child belongs to Polixenes. The answer from the Oracle of Delphi eventually makes its way back to Sicilia, and when Leontes refuses to believe its affirmation of Hermione’s innocence, he accuses Apollo of dishonesty. The couple’s young son Mamilius (Belen Blizzard) subsequently dies from grief, and upon learning of the fate of her children, so, too, does Hermione. Finally, Leontes admits that he has “too much believed [his] own suspicion” (III.ii.148) and begs Apollo to “pardon/[his]great profanenesse ’gainst thine oracle” (III.ii.150-1). Despite his vow to repent, the king cannot reverse the effects of his blind paranoia—that is, not until the latter acts of the play (enter the ‘problem’ half of the ‘problem play’ label). No spoilers!
Repercussion’s production of The Winter’s Tale is in collaboration with UnCanon Theatre, another local theatre company whose own mission is “simple yet radical: to demystify the canon—opening its doors to artists who have been historically excluded from it. We offer Black and BIPOC artists a space to engage with classical texts while preserving their artistic and ancestral integrity.” As such, this production places itself in a Nubian-futuristic setting that allows the audience to ask “contemporary questions of systemic injustice, resilience, and rebirth”through the lens of Shakespeare’s text, resulting “in a reflection on power and belonging”.
One of the most striking elements of this performance was the choice to rework part of scene V.ii, wherein three gentlemen discuss what one would expect to be the most emotionally gratifying moment of the play: the joyous reunion between father and daughter. In a very tongue-in-cheek manner, Shakespeare stages all the action behind the scenes and allows the ever-so-crucial character Third Gentleman to assert to friends and audience alike that “you have lost a sight which was to be seen, cannot be spoken of” (V.ii.36-7). Repercussion takes the line to heart and agrees that these intimate events cannot, in fact, be spoken of, and therefore allows us to see them. In this production, characters silently move across the stage to one another, and understanding passes from one person to another; after two decades, father and daughter meet, friends reconcile, and a widow comes to terms with her husband’s valiant death. It is a true credit to the actors that their movement and facial expressions alone included the audience in not only the truth of the scene, but in its emotional impact.
The Winter’s Tale runs until the fifteenth of August: find more information about the performance schedule here. Admission is entirely free—if you are a fan of accessible art, consider donating to Repercussion Theatre here to ensure its longevity. At a time full of uncertainty and hesitation, supporting artistic endeavours built around community is more important than ever. [Author exits, pursued by a bear.]
WHAT: Shakespeare’s The Winter’s Tale presented by Repercussion Theatre and UnCanon Theatre
WHERE: A Montreal Park NEAR YOU!
WHEN: Now until August 15, 2026
METRO: Multiple
DETAILS: Schedule
