Displaying items by tag: Michael Stejskal

Walking into Windy City Playhouse, audiences are immediately transported to somewhere new. Scenic Designer Kevin Rofls fills the space with trees, branches, and flowers – drawing the audience into the story as soon as they enter the space. Lighting Designer Trey Brazeal highlights the room in a mix of various shades of blue, creating a somewhat hazy atmosphere. The shadows hit the tree branches and rocks just right, also providing an air of mystery. Audiences are immersed into a space of wonder.

The Winter’s Tale is about a number of things. There’s heartbreak and betrayal. There is jealousy and trickery. There’s reconciliation and forgiveness, as well as the test of time. Surrounding all of these storylines is one of magic and love – with an exploration of how the heart can bring us to do some dangerous, but also some beautiful things. The design team creatively collaborates to draw audiences into that enchanted world – a space where anything can happen. Particularly when combined with live music, you might just find yourself leaning in as you become absorbed in the dark romance.

Written by William Shakespeare, The Winter’s Tale follows King Leontes (Michael Stejskal). When he falsely accuses his wife, Hermione (Andrea Uppling) of having an affair with his best friend, King Polixenes (Raul Alonzo), a series of unfortunate events are spurred into action. Hermione is arrested, causing their young son, Mamillius (Jennifer Agather) to die due to distress. The King and Queen’s baby girl is stolen away for safety, and Hermione barely makes it through her trial. As with so many Shakespearean stories, all turns into chaos, and the remaining heroes are eventually left to pick up the pieces and see what may be worth saving.

Directed and adapted by Charles Askenaizer, the ensemble as a whole is quite strong. The Winter’s Tale is one of Shakespeare’s pieces that does not quite fit. There is love, but it is not technically a comedy. There is death, but it is not quite a tragedy. The story moves through the highs and lows of the genre and the actors bring that to life with ease – in particular, Uppling as Hermione and Stejskal as Leontes. Shakespeare does not make it easy for these performers – with a relationship that pulls a 180 within minutes as Leontes becomes lost in jealousy and rage. However, this duo approaches the emotional complexity with grace and certainly keeps the audiences on their toes – wondering what twist or turn may be thrown into the relationship next.

As much as The Winter’s Tale handles heavy matters of tragedy, the production also carries what some might find to be much needed moments of levity. Sam Nachison’s Autolycus is a prime example - appearing early in Act 2. Autolycus steals from an unsuspecting Clown (played by Kyle Quinlivan - with a sweet, unassuming innocence), and Nachison turns this into a game with the audience. With each piece of clothing Autolycus tricks the poor man into removing, or coin purse that the Clown unknowingly hands over – Nachison throws a little wink or gesture to the adoring crowd. His performance elicited uproars of laughter, and even cheers as the thief’s tactics became increasingly over-the-top.

With a stunning design and strong ensemble, The Winter’s Tale is a night of romance and wonder. 

RECOMMENDED

Run Time: 2 hours and 45 minutes, with intermission.

The Winter’s Tale runs through April 20, 2025 at Windy City Playhouse – 3014 W. Irving Park Road. For tickets and information, see the Invictus Theatre website.

*This review is also featured on https://www.theatreinchicago.com/!

“James was deeply aware of the anguish associated with denying others their authenticity; His famous Frankenstein wasn’t a murderous monster. His heart’s desire was friendship cleverly bestowed upon him by a blind man”.    Norm Woodel

Frame of Reference Productions In Association with The Woodel Inspiration Fund has embarked on a daring and poignant new stage adaptation of "Gods & Monsters," based on Christopher Bram's 1995 novel "Father of Frankenstein" and its acclaimed 1998 screen version. This production, under the innovative direction of Paul Oakley Stovall and the creative script by Tom Mullen, brings to life the fictionalized final days of James Whale with a fresh perspective and a profound exploration of identity, empathy, and the human condition.

Scott Westerman as James Whale delivers a masterful performance, capturing the complexity of a man whose health and career are in decline, yet whose spirit remains fiercely alive. Westerman’s portrayal is both haunting and tender, embodying Whale’s struggles with mortality and his reflections on a life marked by both brilliance and tragedy. His nuanced performance allows the audience to feel Whale’s pain, his moments of joy, and his gradual descent into the depths of mental decline.

Rashun Carter as Clayton Boone is a revelation. In a bold move, Boone is reimagined as a Black man, a decision inspired by Whale’s own casting of Black activist Paul Robeson in "Show Boat." Carter, who I recently saw in “Judy's Life's World” brings depth and sensitivity to Boone, portraying him as more than just a muse or object of affection; he is a fully realized character whose presence challenges and ultimately changes Whale. The chemistry between Westerman and Carter is palpable, their interactions charged with warmth and a delicate balance of power and vulnerability.

Doreen Calderon as Maria Ramirez, Whale’s housekeeper, provides a compelling performance that adds another layer of richness to the narrative. Calderon’s Maria is both protective and candid, her Mexican heritage bringing a new dimension to the story. This character’s evolution reflects the broader themes of race and empathy that Mullen seeks to explore. Calderon’s ability to convey strength and warmth in her role makes her a standout in the cast.

Ethan Check as Edmund Key and Michael Stejskal as David Lewis offer strong supporting performances, each bringing their unique dynamics into Whale’s world. Check’s Edmund Key, a figure from Whale’s past, and Stejskal’s David Lewis, Whale’s loyal companion, both serve as crucial elements in understanding the protagonist’s internal and external conflicts.

The decision to center the theme of race in this adaptation is executed with sensitivity and insight. Mullen’s script honors Bram’s original work while introducing contemporary resonances that feel both timely and timeless. The narrative weaves together the personal and the political, showcasing how Whale’s identity and experiences shaped his empathy for the marginalized—a trait that is evident in his cinematic masterpieces.

Paul Oakley Stovall’s direction ensures that the story remains intimate and character-driven, even as it tackles broad societal issues. Stovall’s understanding of the material’s emotional core allows for moments of genuine connection and introspection. His approach, combined with Mullen’s articulate script, brings out the universal themes of loneliness, aging, and the desire for intimacy in the face of repressed desires and past traumas.

Most of the action unfolds within the mind of James Whale, brought to life through the creative vision of set designer Ben Lipinski and the collaborative efforts of lighting and projections designer Mike Tataj. They seamlessly weave time and place together, creating a cohesive tapestry of scenes. The use of scrims with projected scenes pays homage to Whale’s legacy as a filmmaker. This production boasts the highest production values I have seen thus far this year.

In conclusion, "Gods & Monsters" is a triumph, primarily due to the compelling bond between Whale and Boone. This thoughtful, provocative, and deeply moving adaptation honors its source material while offering fresh insights. The powerful performances, meticulous direction, and insightful script coalesce to create a theater experience that resonates on multiple levels, emphasizing our shared humanity and the transformative power of empathy. This production not only tells the story of James Whale but also mirrors society, highlighting the ongoing struggles and triumphs of those who dare to be different, all through the lens of Whale and Boone's evolving friendship.

Highly Recommended

When: Through June 2

Where: Theatre Wit 1229 Belmont Avenue

Running time: 1 hour, 30 minutes

Tickets: $12.75 - $47.75 (student & senior tickets)

www.godsandmonstersonstage.com