PicksInSix Review: Betrayal-Goodman Theatre

BETRAYAL: If You Know, You Know.
PicksInSix® Review | Ed Tracy

It is no surprise that there was high anticipation for the opening Monday of the Goodman Theatre production of Harold Pinter’s “Betrayal,” directed by Artistic Director Susan V. Booth. With a seasoned, all-star cast that includes Helen Hunt, Ian Barford and Robert Sean Leonard, the show is a fictionized account of Pinter’s own marital infidelity. It is a remarkably succinct play, told in reverse order with scenes that unfold from 1977, two years after the clandestine seven-year affair ended, to the moment of its inception in 1968 while delving into how these affairs of the heart occur in the lives of otherwise well-meaning and trustworthy adults.

On those last few points, none of Pinter’s flawed characters in “Betrayal” are even remotely close to well-meaning and trustworthy, with the exception of Nico Grelli whose comic turn as an Italian waiter is a delight. We know at the top everyone is playing with fire and it’s just a matter of time for all of the deception, tension and misinformation to be revealed. And when it ends, the 75-minute drama feels remarkably like it is just getting started.

Jerry (Leonard) is married to Judith (unseen) and was best man at the wedding of Emma (Hunt) and Robert (Bedford). As the backstory is revealed to its eventual beginning, the betrayals that the audience are already aware of are realized in such rapid succession that you may need a scorecard to keep track. It’s as if Pinter took a page from the Dale Carnegie playbook: “Tell ’em what you’re going to tell ’em; then tell ’em; then tell ’em what you told ’em.” He with him. She with he. Him with her. And that’s not counting the unseen who are affected, including, well, if you know you know.

Pinter was 38 years old and married a year when his longtime affair with Joan Bakewell began and in his mid-40s when it ended which is more than a decade removed from anyone on the Goodman stage. All that was a conscious decision by Booth in casting the work around Hunt. Leonard plays the closest to that range throughout in a fine performance even if the heat of the romance is a bit more of a glowing ember than a red hot flame. Beford’s Robert pulses with an undercurrent of hostility though not quite enough to serve as an impetus for Hunt’s Emma to seek comfort elsewhere.

There is no doubt that Hunt has the most challenging assignment of all. From the shocking truths of the opening scene to the first embrace, she is fascinating to watch at work mining the complex relationships with both men.  

This all plays out on the very stylized scenescape by Neil Patel that incorporates massive translucent panels providing a palette for Rasean Davonté Johnson’s rich projection design. The atmospheric sound design and composition by Rob Milburn and Michale Bodeen and lighting by Xavier Pierce all combine with Linda Rothke’s costumes to make Goodman’s “Betrayal” a unique and absorbing production.

PHOTO|Joan Marcus

GOODMAN THEATRE
presents
BETRAYAL
170 N Dearborn St

EXTENDED through March 30

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PicksInSix Review: Twelfth Night - Chicago Shakespeare Theater

“Twelfth Night” — Free-Spirited, Comic Gem!
PicksInSix® Review | Ed Tracy

Without a doubt, the astounding quality and resulting popularity of productions of Shakespeare’s work at Chicago Shakespeare Theater rests firmly on the theater’s decades-long artistic commitment to presenting work with universal clarity and understanding, multi-talented casts and purely whimsical staging. A large part of this artistic ethos has to do with the diversity of the massive audiences drawn to Navy Pier, a top Midwest destination attraction that offers a once-in-a-lifetime experience for visitors to Chicago and an endless stream of students whose trip to the magnificent Courtyard Theatre is often their introduction to both theater and Shakespeare.

So, it is no surprise that the opening of “Twelfth Night”—a free-spirited, comic gem directed by Tyrone Phillips—was enthusiastically received on Thursday night. Shakespeare’s celebration of the many facets of love, and its impact on who we are, takes on new meaning in Phillips adaptation which is at the same time true to the comic roots of the original and cleverly awash with 21st century references that fit together seamlessly. With Shakespeare’s robust characters bursting forth with purpose, passion and promise, Chicago Shakespeare’s “Twelfth Night” is clever, smart and a joy to watch from beginning to end.

Set in the Caribbean, the story revolves around the separation of shipwrecked twins Viola (Jaeda LaVonne) and Sebastin (Justen Ross) on the island of Illyria. In order to deal with the grief and abandonment that she is feeling with the supposed loss of her brother at sea, Viola disguises herself as a young man named Cesario and takes a position as page to Duke Orsino(Yao Dogbe). The Duke implores Viola(as Cesario) to become the intermediary for his love interest, the Countess Olivia(Christiana Clark) who is in mourning herself about the recent passing of her brother. While Viola finds herself falling hard for the Duke, Olivia, determined to shun the Duke, begins to woo Viola(as Cesario).

Olivia lives with her uncle Sir Toby Belch(Ronald L. Conner) who spends most of his time in drunken—and hilarious—merrymaking with his companion Sir Andrew Aguecheek(Alex Goodrich) along with Olivia’s gentlewoman Maria(Danielle Davis), Fabian(Shelby Lynn Bias) and the jester Feste(Israel Erron Ford).  The group’s brand of roguish behavior riles Olivia’s cynical steward Malvolio(Paul Oakley Stovall) into such a fit that the group conspires to deceive him into believing that Olivia is enamored with him. One comic situation follows another with love eventually conquering all.

The show is infused with a universal blend of contemporary hip-hop and reggae music by music director Robert Reddrick and movement director Sadira Muhammad that befits the storytelling. Philips and his creative team, led by scenic designer Sydney Lynne with costume designer Christine Pascua, have conceived a striking seaside atmosphere that transitions effortlessly from scene to scene. With extraordinary precision, the crystal blue Caribbean skies turn to a thunderous rainstorm in the blink of an eye and a nod to the evocative lighting design of Xavier Pierce, stunning projections by Mike Tutaj and an intricately charged sound design by Willow James.

It all feels like an expertly-crafted ensemble piece. LaVonne’s earnest and engaging Viola/Cesario is a delight. Sir Toby Belch and Aguecheek, two of Shakespeare’s most beloved comic foils, are played here by Conner and Goodrich with reckless comic abandon. Davis, whose sustained laughter is infectious, and the sublime vocals of Ford, round out the band of hooligans at the center of the comic subplot to upend Stovall’s staunchly priggish servant turned infatuated manic lover Malvolio—the brilliant and commanding performance of the night—all make “Twelfth Night” a show to see and enjoy!  

PHOTO|Liz Lauren

Chicago Shakespeare Theater
presents
TWELFTH NIGHT
Courtyard Theater
Navy Pier
through November 26

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