Marsha Stephanie Blake, Lily Rabe, and Raúl Esparza Photo by Joan Marcus

Yes, it runs over three hours (with a 20-intermission). Yes, what happens before intermission is jarringly different than what happens after. And, yes, Shakespeare seems to have taken on the challenge of checking off everything on the list declaimed by the long-winded Polonius in Hamlet, in which he enthusiastically praises the traveling players for being capable of performing "tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragical-comical-historical-pastoral" etc.

The Winter's Tale is all of these. But not to worry; this production, brilliantly helmed by director Daniel Sullivan and featuring a glorious cast that embodies what it means to be handed an embarrassment of riches, comes as close to "not to be missed" as you are likely to encounter. And as a reminder, attendance is free. If you can nab a ticket, do so!

"A sad tale's best for winter." This line, spoken by young Prince Mamillius (Matthew Eby), perfectly encapsulates the first half of the play. It is indeed a sad tale, one that reminds us (as if we need reminding) that a foolish, narcissistic man becomes a real danger to himself and others when he is in a position of power.

In this case, the mess of a man is Leontes, King of Sicilia (Raúl Esparza, giving a blazing performance). Needing no Iago to goad him, he plunges into a miasma of Othello-like jealousy aimed at his queen, Hermione (Lily Rabe, intense), and his dearest friend Polixenes, King of Bohemia (Gilbert Owuor).

The "green-eyed monster" is all-consuming. Before the first half of the production (encompassing Acts I, II, and III of the Shakespeare play) is over, and despite a solid wall of dissent by every single one of his courtiers and his chief advisor Camillo (Teagle F. Bougere), Leontes has wreaked havoc, defying even the word of the Oracle of Delphi. We will break for intermission having learned that that Hermione has died in prison, their son has died of grief and sickness, and, on Leontes' command, his newborn daughter Perdita (whom he believes to be Polixenes' child) has been dumped on a barren seacoast and left to fate.

The Cast Photo by Joan Marcus

Things kick off with an air of celebration and the preparations for the sheep shearing festival, to be presided over by none other than the once-abandoned Perdita (Isabela Ferrer, a joy), who had been rescued and reared by a kindly shepherd (Chuck Cooper). Add in a scene-stealing comic turn by Steven Skybell as a roguish peddler and con man, and you will find yourself being taken on a far happier ride than you experienced earlier. This all leads to a fantastical ending, presided over by Hermione's most loyal friend, Paulina (Marsha Stephanie Blake, epitomizing what it means to say "no" to power). If you don't know the play, the ending will leave your heart overflowing.

What more is there to say, other than to once again praise the cast and Daniel Sullivan's complete trust in delivering us Shakespeare without reinventing him? However, as long as we are disseminating the kudos, let's give A+ marks to sound designer Brian Ronan and sound system designer Mike Tracey for making sure we can hear and understand every syllable and musical sound (that's Tom Kitt's contribution) that emanates from the stage of the refurbished Delacorte. Rousing cheers for everyone who had anything to do with this exceptional production!