“The waves always come back.” This powerful refrain, sung by the chorus in The Winter’s Tale, captures the cyclical nature of grief and healing that pulses through the heart of this Shakespeare classic. Presented by the Stellenbosch University Drama Department from 2–10 May at the Adam Small Theatre Complex, this bold reimagining of the play under the direction of Sukki Hofmeyr masterfully intertwines the themes of jealousy, forgiveness, and the passage of time with a distinctly South African sensibility.
The play opens in Sicilia, where powerful King Leontes (Mateo Komlosy), overtaken by irrational jealousy, falsely accuses his wife, Hermione (Lea Steenkamp), of infidelity. Leontes’ unfounded accusations tear apart his family and kingdom, leading to the apparent death of Hermione and the abandonment of their newborn daughter, Perdita (Taylor Ackermann), who is raised by a shepherd in Bohemia. Sixteen years later, the action shifts to Bohemia, where Perdita and Polixenes’ son, Florizel (Lutho Ndyalvane), fall in love.
The unfolding of the plot, steeped in Shakespeare’s lyrical language, was handled with remarkable clarity by the entire cast. While the language was undeniably challenging, not a single actor faltered. Each phrase landed with precision, making Shakespeare’s verse both accessible and piercing. Mateo Komlosy, in the role of Leontes, gave a breathtaking performance, with his commanding physical presence, punctuated by sharp, controlled gestures, reflecting the king’s initial dominance.
Lukhona Mkunyana brought comedic relief as Autolycus, using exaggerated physical movements and sly smirks toward the audience. Meanwhile, Aidan Davies, portraying the Shepherd’s son, added warmth and light-heartedness through his simple, often confused demeanor, which contrasted beautifully with the more serious tones of the play.
In a stunning visual metaphor, waves crashed relentlessly across the projector screen behind Leonates, symbolizing both the storm inside his mind and the devastating consequences of his actions. The stark contrast between the cold, isolated lighting of Sicilia and the warm, inviting glow of Bohemia underscored the emotional shift from despair to hope. The pastoral world of Bohemia was alive with vibrant colour – brightly colored flags, warm, yellow lighting, and hanging fairy lights signifying the potential for healing and reconciliation. All the set changes were executed with fluid efficiency, heightening the sense of time passing and the potential for renewal.
A key feature of this production was the multilingual chorus, who sang in English, isiXhosa and Afrikaans, grounding the play in a local context while enhancing its emotional depth. The costuming was thought-through and intentional. For example, King Leonates’ costume shifted from a crisp, regal suit to a humble sweater and slacks in his older years, visually marking his slow path to humility.The chorus’ garden-themed costumes – rich with leafy greens and florals – also symbolized nature’s regenerative power, echoing Hofmeyr’s vision of interconnectedness with the earth.
This reimagining of The Winter’s Tale took Shakespeare’s original and gave it a refreshing spin, with just enough absurdity to keep things vibrant. From jealousy to reconciliation, the production showed that, like the waves, forgiveness always comes
crashing back. Even in the depths of winter, spring – through renewal and hope – always manages to bloom again.
By Tenisha Taylor
