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PicksInSix Review: Henry V - Chicago Shakespeare Theater

 
 

Brilliantly Staged ‘Henry V’ at Shakes!
PicksInSix® Review | Ed Tracy

The explosive, contemporary staging of Chicago Shakespeare Theater Artistic Director Edward Hall’s “Henry V” that opened Friday is a riveting soldier’s war story dedicated to the modern military code of honor, duty, service and sacrifice and amplifies Shakespeare’s depiction of King Henry V (Elijah Jones), initially perceived as an ineffective leader, to conquering warrior. Hall’s production broadens the intense combat action that is central to the work.

That initial perception is dispensed early on as Henry keenly roots out deception within his ranks and then proceeds to turn an ambitious, undermanned and seemingly unwinnable assault on France into stunning victories at Harfleur and Agincourt and in so doing, claims the hand of France’s Princess Katherine (Courtney Rikki Green).

The modern framing of the piece allows the unique interweaving of Jon Trenchard’s original music and arrangements that include a variety of musical genres all accentuating the storytelling with a deep sense of patriotism and camaraderie that then turns quickly to the shocking realism of the battle. Framed in Michael Pavelka’s industrial metallic scenic and extraordinary costume design presents a strikingly unified vision. The Courtyard Theatre is draped in camouflage netting and bathed in Marcus Doschi’s searing lighting design with Emily Hayman’s pulsating sound to establish a staggering backdrop for Hall’s company of seasoned actors covering multiple roles at breakneck speed.

Hall dispenses with the prologue as a single voice incorporating the company as a chorus of voices who drive the pace of the production. Within the company of commandos arise superb individual performances: the strong presence—and singularly extraordinary entrance—of Jaylon Muchison’s Montjoy; Axejandra Escante’s Dauphin (and also an almost unrecognizable Mistress Quickly); Rachel Crowl’s Fluellen;  Gregory Linington’s Archbishop of Canterbury; and, pretty much every time Scott Aiello (Nym and others) appears with Ronald L. Conner (Bardolph) and Demetrios Troy (Pistol) as the ragtag Eastcheap Three with the Lad (Green). The unique and multi-faceted roles of Kate Fry include the gentlewoman Alice and feature her appealing bilingual abilities as Monsieur le Fer to Green’s thoroughly enchanting Katherine. Sean Fortunato (King of France/Sir Thomas Erpingham) stands out in this exceptionally fine ensemble.

Elijah Jones is HENRY V at Chicago Shakespeare Theater through October 6, 2024.

And there at the center of it all is Jones’s Henry who so tentatively takes the throne at the top, dispatching his distractors and leading the invasion with the courage and the decisive authority of a battle seasoned warrior. Jones portrays Henry the commander as a soldiers soldier and ally, as a disciplined ruler in the negotiations with Muchison’s Montjoy and as Katherine’s enamored suitor.

There are exhilarating moments of brotherhood, humor and song, stirring special effects and deftly creative enactments of justice. At the most intense moments of this brilliantly staged drama, the sometimes dense text emerges with broad clarity, a longstanding objective of Chicago Shakes to bring the more complex elements of Shakespeare’s plays to an ever-expanding audience on Navy Pier.      

PHOTO|Liz Lauren

Chicago Shakespeare Theater
presents
HENRY V
through October 6, 2024


Courtyard Theater
Navy Pier

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For more reviews, visit: Theatre In Chicago

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PicksInSix Review: The Cherry Orchard - Goodman Theatre

 
 

“All Things Come To An End.”
PicksInSix® Gold Review |Ed Tracy

On my first visit to Chicago, I took a brisk late morning walk from Streeterville down Michigan Avenue across the DuSable Bridge to Wacker then North Dearborn and into the lobby of the Goodman Theatre. I was on a quest, of sorts. I browsed the impressive donor wall and peered in on the staff bustling around next door at Petterino’s.

It was mid-March 2002 and I had visited a hundred theaters or more before but could immediately feel the unique energy emitting from this slumbering giant of a venue. The feeling was palpable and inspiring.

I ventured upstairs and—remarkably by today’s security standards—into the Albert Theatre balcony, settling quietly into the last seat on the aisle, watching stagehands prepare for the next performance of the Robert Falls-directed masterpiece, “Long Day’s Journey into Night.”

It was not apparent to me at the time just how much influence one person could have on an institution, particularly when it is in the business of the performing arts and operates at such an extraordinary professional level as the Goodman Theatre. Falls’ work had been recognized with numerous awards, most notably a Special Tony Award for Outstanding Regional Theatre and for directing “Death of a Salesman.”      

An amazing career for someone who had served as Artistic Director at Goodman since 1986. But Falls was just getting started. Twenty years passed before a new generation of artistic leadership would begin writing the next chapter. The foundational work by Falls and longtime Executive Director/CEO Roche Schulfer is an epic story of partnership and passion for the arts.  One need only look at the last six pages of the program to witness the investment by individuals, corporations and foundations whose support has enabled groundbreaking new work and educational opportunities to flourish on multiple stages.

Countless years of opening nights at Goodman were top of mind as I entered the Albert on Monday for the opening of Falls’ brilliant production of Anton Chekov’s “The Cherry Orchard,” a play choice that speaks to his long range vision and embraces a legacy that will be lasting and permanent. Falls is an artist extraordinaire and an innovator who has operated at the pinnacle of his craft through a defining and challenging era for contemporary theater.

This is a production to see and to savor.

Change is inevitable and “all things come to an end” a resoundingly appropriate quote from the play that sums up our human urge to reconcile with the past even as we keep a hopeful eye to the future. Adapted by Falls from a translation by George Calderon, “The Cherry Orchard” bursts with life, love, anguish and longing, showcasing an aristocracy trapped in its social mores, vulnerable yet oblivious to the generational change that is consuming them. It is theater of the highest caliber, a classic running spritely on all cylinders with production values that are rich, textured and sublime.

It is also a play for our time, when our own creative culture is at a tipping point and theater itself in the middle of a seismic shift. Falls has molded Chekov’s vision of the collapse of mid-19th century servitude society into an assessable production that looks and feels very much like it might have at the Moscow Art Theater during its debut at turn of the 20th century. Now enhanced for a modern audience, it emerges with all the joy and sadness that Chekov might have imagined—delightfully entertaining, absorbing and captivating—elevated to new heights by an extraordinary ensemble led by the blistering performance of Kate Fry (Lubov Ranyevskaya) and inimitable Chicago stage veterans including: Kareem Bandealy (Lopakhin),  Christopher Donahue (Leonid Gayev), Matt DeCaro (Boris Semyonov-Pishchik), Alexandra Escalante (Varya), and Amanda Drinkall (Dunyasha) with two of the most endearing and heartfelt stage turns of this or any season by Francis Guinan (Firs) and Janet Ulrich Brooks (Carlotta). 

Todd Rosenthal’s artful scenic design of the estate of Lyubov Ranevskaya, the stunning costumes by Ana Kuzmanic and evocative lighting by Keith Parham, all coalesce to provide the perfect visual tapestry.

The page has now been turned. We can only dream that the next glorious chapter of Goodman Theatre history will be as exciting, and satisfying, as this one. “The Cherry Orchard” plays through May 7.  

PHOTO|Liz Lauren

GOODMAN THEATRE
presents
THE CHERRY ORCHARD
EXTENDED through May 7
Albert Theatre
170 N. Dearborn St.


(312) 443-3800

WEBSITE

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GOODMAN THEATRE HISTORY

For more reviews, visit: Theatre In Chicago

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