Vicki Mortimer has created a scenic world for The Winter’s Tale that visually contrasts the two cultures of Bohemia and Sicilia. The set comprises a round central structure constructed of three sections. Two of these rotate in a track in the stage floor to create the different settings in the opera. This design is both practical and conceptual: the revolving structure emphasises the ties between the two worlds and their inevitable union, whilst the movement of the walls allows for smooth transitions between scenes. The texture and colour of the two worlds illustrate their differences.

Sicilia

An initial concept for the world of Sicilia was inspired by a Faberge egg – a highly worked ornate structure mimicking a fragile natural shape. To represent the controlled urban world of Sicilia, Mortimer chose a smooth, neutral white and marble colour scheme. In the final set design, the palace rooms are filled with statues, and busts of previous male leaders adorn the walls. This evokes Leontes’ place in a legacy of male dictatorship, while drawing attention to the vulnerability of Hermione’s role within this power setting. At the height of Act 1, when Leontes denies the Oracle’s verdict and Mamillius’s death is announced, the set breaks apart to reveal a deep fissure in the kingdom.

Bohemia

In contrast, the scenic world of Bohemia emphasises man’s cooperation with the natural world. In this part of the set, the walls are rough and un-worked with splashes of bold colour in the props and plants and a sense of earthy ease and comfort. Plastic crates, wooden furniture and recycled pieces including a seat made out of half of an old boat and tables made out of stacked crates and oil drums create a sense of flotsam and jetsam.

These two worlds collide when Perdita makes her way back to Sicilia and understands her birth story for the first time. The walls of Sicilia come back together in this moment in a fragile repair – imperfect, but with a reflecting seam of gold.

Costumes

Costumes have been designed by Moritz Junge in response to contemporary images from Eastern Europe. The Sicilian costumes are loosely based on Eastern European winter clothing, a mixture of modern civilian and military outfits in grey tones. In contrast, the costumes for Bohemia are modern outfits with added folk elements such as tassles and long, layered skirts in bold and summery colours of yellow, orange and green.