THE trouble with so-called “problem plays” is that directors feel obliged to solve the problem, with sometimes awkward results.

Shakespeare has written two seemingly different plays. The second act switches country, characters and tone. It’s like starting all over again.

As someone suggested, it’s as if Will wrote the first act, went down the pub, had a few drinks, staggered back home and wrote the second act in a somewhat confused state.

In this RSC production – marking the company’s debut to the Grand Opera House – director Lucy Bailey and designer William Dudley embrace the bonkerness of the set-up, linking the two halves with a brilliant coup de theatre – an enormous tower that rises from the floor like one of those industrial chimneys in the Olympics opening ceremony.

This means that Leontes, whose jealousy has caused tragedy in the family and kingdom, remains a presence atop his ivory tower as the Bohemian folk make merry below in scenes of pastoral pleasure, in contrast with the opening scenes of hedonistic partying in the Sicilian court.

Of course, making sense of a play that includes the stage direction “Exit, pursued by bear” and a statue that comes to life is asking a lot.

So is gaining audience sympathy for Leontes but, in a finely-crafted performance, Jo Stone-Fewings achieves that despite playing an unreasonable man confused by irrational jealousy and whose bad behaviour extends to punching his pregnant wife in the stomach.

Tara Fitzgerald’s fun-loving, friendly Hermione gives as good as she gets despite the misery imposed on her and her surprise re-appearance might be seen as just revenge on the man who wronged her.

Until Saturday. Box office 0844-8713024 and online at gtickets.com/york