As a straightforward, straight as a die, rendering of Shakespeare's late romance, there is nothing wrong with John Dove's production. In fact, there is quite a lot right - including Yolanda Vazquez's warm, dignified Hermione and an enjoyably wily Autolycus from Colin Hurley, who relieves his victims of their purses with bumbling hilarity. The production also has the great virtue of allowing you to hear every line with crisp, clean apple freshness. With so much going for it, it is slightly puzzling why the evening remains just a little bit dull and plodding.
It makes you laugh in the shepherd's scenes, an achievement in itself and not something all productions succeed in doing but it never really makes your heart crack or your bones turn to silk. When the statue finally comes to life, and after many years the innocent Hermione is restored to the jealous and now contrite Leontes, every one behaves as if they've just been at a private view for a mildly interesting sculpture exhibition, not witnessed the equivalent of the second coming. You imagine that they will all pop off for a nice cup of tea.
There is neither redemption nor regret. In fact, there is no real resolution at all. Of course, it is partly a problem of the play, but think of the really great productions of this play in recent years, such as Declan Donnellen's or Edward Hall's; they all find ways to make it emotionally satisfying. If Dove fails, it is partly because there is just not sufficient detail in either characterisations or settings or the familial relationships. The production deals with the text well, but it neglects the subtext. We know so little about this marriage between Hermione and Leontes, and both their relations with Polixenes, that what ensues has the makings of scandal not tragedy. As yet Dove has only done half the job.
· Until October 1. Box office: 020-7401 9919.
