Review: MADONNA OF THE CAT at 21ten Theatre

Shakespeare's A Winter's Tale has always been a puzzle. The first half is pure tragedy: King Leontes of Sicilia, consumed by jealousy, accuses his wife Hermione of infidelity with his childhood friend Polixenes. Despite an oracle's declaration of her innocence, he imprisons her and orders their infant daughter, Perdita, abandoned in the wilderness. Hermione apparently dies of grief; their young son Mamillius soon follows. Act III concludes with Shakespeare's most infamous stage direction – Antigonus, who has secretly spirited Perdita to Bohemia, "exit[s] pursued by a bear."

Then, in an act of extreme tonal whiplash, the play leaps sixteen years into pastoral comedy. Perdita, now a shepherdess in love with Polixenes' son Florizel, remains ignorant of her royal heritage. Identities are revealed, lovers unite, and, most miraculously, Hermione's "statue" comes to life.

But what happened during those missing sixteen years? That's the question Sue Mach tackles in her beautifully written and wonderfully acted new play MADONNA OF THE CAT, now receiving its world premiere at 21ten Theatre under Gemma Whalen's direction.

MADONNA OF THE CAT opens just after Act III of A Winter's Tale concludes. Hermione (Crystal Ann Muñoz) isn't dead after all. Her loyal friend Paulina (Maria Porter) has hidden her away. Meanwhile, Perdita (Emma Rose Greene) finds refuge with a shepherd and his wife, Donna (Luisa Sermol). We witness Perdita's childhood in snapshots – as an infant, a five-year-old, and finally at sixteen – while Hermione composes unsent letters and grapples with a life lived in hiding. Then there's the bear (brilliantly brought to life by Bruce Burkhartsmeier), who vigorously objects to the notion that he "pursued" anyone and develops his own protective bond with Perdita.

Mach's title references a painting by Giulio Romano, the only artist Shakespeare names directly in his work. The painting depicts a domestic scene: two women, two children, and a cat. In the background, a man lurks in a doorway. Is he a protector or a threat? That ambiguity animates Mach's exploration of family, friendship, and the fierce, complicated work of caring for one another. Sometimes the figure in the doorway keeps danger out; sometimes you must shield your loved ones from them.

What I loved about this play is its tenderness. The relationships model genuine care. Mach's writing is both clever and funny (the bear's fourth-wall-breaking philosophical musings are particularly delightful), but what lingers is the warmth. This is a play about how we hold each other up.

The production makes excellent use of 21ten Theatre's tiny space. In creating a multi-level set, scenic designer Alex Meyer has conjured a miracle as grand as Hermione's resurrection.

Fair warning: MADONNA OF THE CAT assumes familiarity with A Winter's Tale. Read a synopsis before you go. But absolutely go. In a moment when the world feels fractured, this play offers a model of how to love one another.

MADONNA OF THE CAT runs through November 23. Details and tickets here.

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