Review: Chicago Shakespeare Theatre’s “Richard III”

Richard 3

 

Chicago Shakespeare Theatre presents:

Richard III

by William Shakespeare
directed by Barbara Gaines
thru November 22nd (buy tickets)

reviewed by Richard Millward

Richard III is among Shakespeare’s earliest and most enduring successes and Richard, Duke of Gloucester and later King of England, perhaps his most thoroughly evil character. Despite the ingratiating manner he can turn off and on at will, Richard’s heart is as ugly and twisted as his body is deformed. Trusting no one, and thinking of nothing but his own gain, he is by turns vicious, conniving, dishonest – and utterly fascinating to audiences since Shakespeare’s colleague Richard Burbage first stepped onto the stage to declaim, "Now is the winter of our discontent/Made glorious summer by this son of York."

And that tradition continues unabated at Chicago Shakespeare Theater. In the capable hands of Artistic Director Barbara Gaines, Richard III once again works its magic of simultaneous attraction and revulsion. Briskly paced and sensibly edited, this "Richard III" is relentless in its march towards its anti-hero’s tragic, self-inflicted destiny.

Wallace Acton as the amoral royal of the title brings a surprising amount of humor to his role. His soliloquies and asides to the audience succeed in drawing us in, making us complicit in his mad determination to seize the throne. By the time the culminating battle is approaching, Acton’s Richard has come completely undone, but with a mania and a desperation entirely in keeping with the vicious joker of but a few hours earlier.

Richard 3

Other standout performers in the generally strong company include Kevin Gudahl as Richard’s cousin and accomplice, the Duke of Buckingham, John Reeger as the steadfast Lord Stanley and Dan Kenney as Catesby, Richard’s personal enforcer. Brendan Marshall-Rashid brings authority and gravitas to the small but pivotal role of Richmond, the future King Henry VII and founder of the royal House of Tudor after Richard’s death.

Interestingly enough, it is the women of this "Richard III" who truly shine – women who give lie to the assumption that politics in the Fifteenth Century must have been a man’s game. Wendy Robie, as Richard’s sister-in-law, Elizabeth Woodville, Queen to the soon-deceased Edward IV, and Mary Ann Thebus as his mother, the Duchess of York, are fine, strong actors and women to be reckoned with; they deal with Richard on their own terms. Angela Ingersoll as Lady Anne Neville brings a delicate intensity to a notoriously difficult role. One can feel her chaotic emotions as she is wooed literally over the dead body of her father-in-law, King Henry VI, by the monster who killed not only that monarch, but Anne’s husband and her father. Ms. Ingersoll makes Anne’s impossible choices seem understandable – not an easy task.

Richard 3

Gaines makes terrific use of the sleek, heavily reflective multi-level set clad in plexiglass – designed by Neil Patel and lit beautifully by Robert Wierzel – including inventive use of exits and entrances all through the CST’s auditorium. Special mention needs to be made of Susan E. Mickey‘s brilliant costuming. Evocative of traditional Elizabethan shapes and silhouettes, but executed in muted palettes and of lighter weight fabrics, these are clothes that suggest and reference, without encumbering actors in layers and layers of detail (see video of Ms. Mickey’s perspectives on the visual world of the play here). The director and this designer all star team continue to surprise with images of startling beauty, right up to the closing moments.

Richard III may be one of Shakespeare’s most familiar vehicles, but this is a "Richard III" to remember.

Rating: ««««

 

Continue reading