Displaying items by tag: William Shakespeare

Shakespeare’s comedies share a familiar architecture: mistaken identity, disguises, intersecting plotlines, a generous helping of prose, and language that delights in wordplay and double entendre. They are also, crucially, driven by sharp, intelligent women who often see more clearly than the men around them. With that foundation in mind, Chicago Shakespeare Theater’s production of The Merry Wives of Windsor leans confidently into these conventions - and then accelerates them - resulting in a delightfully mischievous evening.

Directed with precision and pace by Phillip Breen, the production wastes no time settling in. It moves briskly, almost breathlessly at times. Breen understands that comedy, especially Shakespearean comedy, thrives on rhythm. Doors must slam at just the right moment, disguises must be revealed a beat too late, and jokes must land before the audience has time to anticipate them. Here, the timing is razor-sharp, aided immeasurably by a cast of 22 actors who navigate the text with clarity and ease.

Max Jones’ set design cleverly situates Windsor in a contemporary world of affluence and quiet excess. This is a town where privilege is not just visible - it is assumed. Children attend private school, men play rugby, and women occupy a social sphere of lunches and shopping that doubles as a kind of informal power network. The Garter Inn, rendered as a dimly lit bar with a billiards table anchoring the space, becomes a playground for Falstaff’s schemes. In contrast, Dr. Caius’ sterile office reception area offers a clinical absurdity, while the Ford household gleams with white carpeting, glass, and sweeping staircases - its opulence undercut by the chaos unfolding within. A particularly fluid set change transforms the space with near-magic, reinforcing the play’s obsession with illusion and transformation. The final forest scene, textured with dirt mounds and trees, grounds the production just enough before it tips fully into theatrical fantasy.

What emerges most clearly in this production is the idea that Windsor is a world turned slightly askew. No one is quite what they claim to be. The knight, Sir John Falstaff, is anything but noble - he is vain, opportunistic, and gloriously ridiculous. The doctor, Caius, is less healer than hot-headed rival, perpetually threatening violence. The clergyman’s thick accent renders him a subject of humor rather than authority. Even the Justice of the Peace seems more eager for confrontation than civility. It is a community in which status is worn like a costume—and just as easily discarded.

Photo by Kyle Flubacker.

At the center of it all are the “merry wives,” who prove themselves to be the most grounded and perceptive figures on stage. Ora Jones’ Mistress Page and Issy Van Randwyck’s Mistress Ford  anchor the production with wit and composure. They are never merely reactive; they orchestrate the action, turning Falstaff’s attempted manipulation into a series of escalating humiliations. Their intelligence drives the comedy, ensuring that the laughter always has a point of view.

The supporting cast is equally strong. Chike Johnson’s Master Page exudes an easy confidence, while Timothy Edward Kane’s Master Ford leans fully into the character’s jealousy, finding both humor and unease in his suspicion. Nate Burger’s Dr. Caius is a comic standout, his bluster and indignation landing with delightful force. Nancy Voigts brings a bustling energy to Mistress Quickly, threading together the play’s many schemes, while Paul Oakley Stovall’s Justice Shallow captures the absurdity of self-importance.

And then there is Jason Simon’s Falstaff - a performance that embraces the character’s excess without apology. Legend has it that Queen Elizabeth I so adored Falstaff that she demanded to see him in love. Here, however, Falstaff is in love with nothing so much as himself. Simon leans into that vanity, crafting a figure who is both despicable and irresistibly watchable. His repeated downfalls never diminish him; instead, they reveal the elasticity of his ego.

Ultimately, this production succeeds because it trusts the mechanics of Shakespearean comedy while fully committing to its world. Disguises are embraced, identities are blurred, and language sparkles with innuendo. Yet beneath the laughter lies a sharper observation: that power, status, and even identity itself are often performances. In Windsor, everyone is playing a role - some just play it better than others.

Highly Recommended

When:   Through May 3

Where:  Chicago Shakespeare Theater 800 East Grand Avenue in Chicago

Tickets:  $60 - $120

Box Office: 312-595-5600

Info: www.chicagoshakes.com

This review is proudly shared with our friends at www.TheatreInChicago.com. 

"The course of true love never did run smooth." No, wait, that’s from A Midsummer Night's Dream

"I do desire we may be better strangers." Mmmm … closer, but this one’s As You Like It

" Many a good hanging prevents a bad marriage".  A worthy sentiment, but it appeared in Twelfth Night, not …

“Thou and I are too wise to woo peaceably.” Aha! There we go … Benedick says this to Beatrice during one of their incessant arguments in MUCH ADO ABOUT NOTHING. And if you don’t believe me, you can hear it yourself at Chicago Shakespeare Theater – and I very highly recommend you do just that! And don’t dawdle – when I was there last Sunday it was sold out.

A quick-and-dirty rundown of the story:  the beautiful Hero (Mi Kang) has just fallen ass-over-teakettle in love with the courageous young soldier Claudio (Samuel B. Jackson), who reciprocates immediately and enthusiastically. Accompanying Claudio is his senior military officer, Hero’s father Don Pedro (Debo Balogun); also aristocratic soldier and avowed bachelor Benedick (Mark Bedard). Benedick is an Old Family Friend who’s maintained a long-standing verbal battle with Hero’s shrewish [get it? shrewish? nod, nod, wink, wink] cousin Beatrice (Deborah Hay). There’s no questioning the authenticity of their dissension, but from the outset we sense the infatuation lurking just under their squabbles and know that this will be mined for all its chucklesome gold. After all, the most perennial subject of comedy is love, as the Bard knew very well.

Tom Piper does a fabulous job with the set, creating an ethereal fantasy world in the beautiful courtyard of nobleman Leonato (Kevin Gudahl). Lavish garlands festoon balconies and arches, defining the ambience without distracting from the action. A tree stands prominently at stage left and comes into frequent use; there’s even a swing! Several characters have occasion to hide behind its trunk and even up in its branches (clearly a very sturdy piece, that tree). Piper’s choice to design costumes in contemporary style provides another discordance to mirror the ever-present yet ever-changing infighting among the characters.

British actress Selina Cadell directs, exhibiting her long experience with and conspicuous mastery of both Shakespeare and comedy. The story is told cleanly; the pacing is perfect and miraculously the cast has thoroughly conquered iambic pentameter – though a screen displayed open captioning I didn’t need it – every line is intelligible.

The characters interact with the audience throughout. Realism is interchanged with physical comedy, as when Hay ‘hides’ within the audience by shielding her face with a program (and helping herself to her seat-neighbor’s drink!), and Bedard vows ‘I will live a bachelor’ to a member of the audience, shaking his hand on it. Though this physical contact with the characters was limited to the fortunate attenders in front-row seats, the cast regularly invited collusion from the audience as a whole. At one point they convince the audience is to join them in singing ‘hey, nonny’ and there were amazingly few holdouts. I almost never sing along but I did this time!

Bob Mason built a remarkably diverse cast. Between Debo Balogun as Don Pedro, Samuel B. Jackson playing Claudio and Jaylon Muchison taking several comic roles, this production is an excellent showcase for the Black male actors in Chicago.  

Traditionally Shakespeare’s romantic dyads are played by blooming fledgling players –cute kids. Mason choosing fully grown Bedard and Hay as Beatrice and Benedick deepens everyone’s experience. It’s unfair to ask adolescents – kids! – no matter how talented, to develop characters as complex as Hamlet, and inexperienced comediennes fall too easily into Three Stooges-ish slapstick.

It requires a woman well past menarche to fathom Beatrice’s temperament. She’s not so much choosing between different men as she is wondering aloud whether she needs a man at all. She pretty much decides ‘not’, a decision that the majority of modern women can at least understand, if not agree with. A woman must have traversed the estrogen-saturated third and fourth decades of life before she can begin to discern what an equal relationship is, let alone how to construct one.   Beatrice trusts that Benedick will help ease her pain, but it takes a terrific actor to convince the audience to trust him. Benedick in turn must check his Italianate machismo at the door and demonstrate his own vulnerability, not only to Beatrice but to a house full of cynical, overeducated twenty-first century women. Luckily these two actors are exceptionally skilled.

Act Two is markedly darker: Don Pedro’s illegitimate brother Don John (Erik Hellman) is a fellow with an axe to grind. Why? Maybe because he’s illegitimate, a motive as common as it is irrational; any road, his motives are unimportant to the basic story. Suffice to say he has it in for his legit sibling and maliciously chooses to attack him through young Hero. He plots with Borachio (Yona Moises Olivares) and Conrade (Colin Huerta) to disseminate a false story that Hero has been unfaithful to her fiancé Claudio, who’s unfortunately a gullible twit and falls for these unsubstantiated rumors.  

Fortunately, Hero’s suffering is (at least partially) balanced by the clodhopping Dogberry dropping one hilarious malapropism after another. I always have one favorite character (yeah, I’m a bad mom) and in this piece my pick of the litter is Dogberry, particularly as so wonderfully played by Sean Fortunato. Fortunato’s long face and longer body seem custom-designed for the rollicking physical comedy of this wonderful role (though actually he has a phenomenal range). Dogberry’s performance was enhanced by the antics of his constable Verges (Jaylon Muchison), who literally and hilariously dogs Dogberry’s footsteps, resulting in several collisions.

We all know a Dogberry – the nincompoop who sucks up with highfalutin’ speeches that lavishly display he has no clue what the hell he’s talking about. I can’t resist including a quote (no spoiler, promise!) from Dogberry’s account to his boss: “Marry, sir, they have committed false report; moreover, they have spoken untruths; secondarily, they are slanders; sixth and lastly, they have belied a lady; thirdly, they have verified unjust things; and, to conclude, they are lying knaves.” You have to pay attention though, as many of his drollest maxims are far briefer.

Unexpected but welcome was original music composed by Eliza Thompson, with cast members playing accordion, saxophone, drum, flute, banjo, and guitar. Sound designer Nicholas Pope used excerpts of Thompson’s score to indicate the passage of time between scenes, with lighting refinements imbued with the prevailing comedic zeitgeist – though how one makes lighting funny is a mystery to me. Fortunately, light designer Jason Lynch knows how.

MUCH ADO ABOUT NOTHING is the original romcom and this production channels the spirit of the classic 1940s romantic comedies. Rosalind Russell / Cary Grant and Katharine Hepburn / Spencer Tracy stem from Beatrice and Benedict as directly as the Sharks and the Jets are drawn from the Capulets and Montagues. The characters and their adventures are, after all, timeless. With uncanny prescience MUCH ADO ABOUT NOTHING examines major twenty-first century courtship issues: the disproportionate consequences for women, differentiating between humor and ardor, finding balance in inherently unbalanced relationships, even cyber-bullying! I’m not a Shakespeare scholar but I’m willing to bet the man never so much as sent a text message.

MUCH ADO ABOUT NOTHING is arguably Shakespeare’s best comedy, and Chicago Shakespeare Theatre delivers just that, secured by the warmth, maturity and phenomenal talent of the cast. It’s good solid unadulterated Shakespeare and, though the physical comedy is uproarious, the shenanigans never overshadow the linguistic magnetism. This production of MUCH ADO ABOUT NOTHING is totally irresistible!

VERY HIGHLY RECOMMENDED

Running until December 11 at Chicago Shakespeare Theater 800 East Grand Avenue Chicago

I try to attend all performances of Babes w/ Blades Theater Company, but I haven’t seen them in this fabulous venue – The Edge Theater, on Broadway – since 2022. That presentation of Shakespeare’s RICHARD III holds a special place in my heart as one of the finest theatrical productions I’ve ever seen. I can’t say THE MARK quite equaled RICHARD III, but it carried a similar stamp of excellence, no doubt due to the high percentage of artists involved in the two shows. Both were directed by Richard Costes, and Line Bower was Technical Director for both; THE MARK’s fight director Hazel Monson was in the cast of RICHARD III, while Maureen Yasko acted in THE MARK and choreographed the fights for RICHARD III. Playwright Jillian Leff wrote THE MARK but not RICHARD III (duh), but she played a major role in RICHARD. Both casts included Jennifer L Mickelson, Jennifer Mohr, Rose Hamill, and … but you get my drift, yeah? The collaborative efforts of these artists – most of whom, not coincidentally, are members of Babes w/ Blades – are outstanding. [BTW, if I missed you in that list please forgive me -- SO not intentional.]

THE MARK is set in a post-apocalyptic dystopian stratocracy. The Mark decides who gets how much of the strictly rationed food and other essentials. Obviously. members of the Army who have earned The Mark are entitled to special benefits, highly valued in this hardscrabble society.

Members in this elite syndicate are distinguished by a red Mark on the face and selected by brutal tests calculated to glean the most aggressive, volatile candidates. Those who fail a test (or aren’t even chosen to compete) are the Laborers, fated to live precariously on meagre rations. Any Laborer who resists is expelled from the district, to … well, no one comes back to report just what’s out there.

M J Handsome plays the protagonist, Raina, who has been raised by her father Jonas (Tamarus Harvell) in his bakery.  When she hears of a resistance brewing among the Laborers, she rebuffs Jonas (as adolescents will do) for not sharing her enthusiasm for it.

Raina is unexpectedly invited to compete for a place in The Mark, where she meets Jack (Whit Baxter Bates), an ambitious and rather bumptious contestant. The vicious test battles are overseen by staff officers: Nicky Jasper’s expertise with stage fighting is amply demonstrated in the character of bellicose Officer Maxwell while Fin Coe’s Staff Officer Peters shows that Mark officers may be compassionate, but such deviance really should be kept under wraps. Maureen Yasko’s stagecraft in her role as Cain is as notable as her stage fighting, and combat expertise is likewise apparent in each of the Ensemble: Matt Chester, Jennifer L Mickelson, Jennifer Mohr, Izis Mollinedo, and Shane Richlen. Amy J Johnson portrays The Commander as totally professional, pro-Army to the core, and a strict disciplinarian, yet shows us she cares about her recruits.  

At the core of THE MARK is the question of change. The Commander is working to bring about change gradually, addressing one quandary at a time, while many of the resistance advocate a more extremist approach, tearing it all down and building a completely new system.

This duality of views is the basic premise of THE MARK: what’s the best way to address a systemic wrong?  a timely issue! And one that Leffer examines by attaching different ideas to separate characters. I found myself identifying with now one, now another set of views – in itself a worthwhile exercise of flexibility. Yet THE MARK doesn’t oversimplify – there is no ‘right’ or ‘wrong’, and people are brought to their various mindsets by their unique experiences and circumstances

The set, designed by Amy C Gilman and skillfully lighted by Laura J Wiley, was simple yet multifunctional: a few basic shapes from which a desk, a hospital bed, or whatever’s needed may be quickly created. Kasey Wolfgang managed to create costumes that indicated military uniforms while remaining, in my case at least, non-offensive and non-triggering (not an easy feat!) And gratitude goes to Ab Rieve for managing to avoid firearms.  

Hannah Foerschler’s backup sound was so supportive and credible that I find I can’t distinctly recall it – ideal, it seems to me. And as Stage Manager… I once asked a more experienced friend “Just what does a Stage Manager do?” Their succinct reply: “Everything.” Grace Elizabeth Mealy, with Assistant Dylan Hirt, did Everything and did it well.  Intimacy Director Becca Schwartz clearly worked closely with Fight Director Hazel Monson and her Assistant Carly Belle Cason. Fighting and intimacy are closely linked and, as with all Babes productions, they meshed perfectly.  Stage combat is, after all, the Babes’ raison d'etere and they do it superbly.

I was a bit confused about time jumps. There was no direct indication that some scenes were actually backstory. Still, once I muddled it out the storyline progressed smoothly. Perhaps this could be simply indicated using costume and/or props. Also, I couldn’t help noticing a couple of misspoken lines, but that’s to be expected at the start of the run.

In essence THE MARK is a relevant and thoroughly entertaining show, an excellent vehicle for the special magic of the Babes w/Blades.

Playing at The Edge Theater through November 22                                                                                                       

Highly Recommended!

Walking into the Courtyard Theater for Rome Sweet Rome, you might find it’s impossible not to be taken aback by the design. College Pollard’s Scenic Design astounds – particularly with the large replica Michaelangelo’s sculpture the David at the center. The catch? The statue is featured from behind, giving the audience a prime view of the David’s backside for the entire performance. Especially when combined with Lighting Designer Jesse Klug’s bright, flashing lights and Jax and Composer Jeffrey JQ Qiayum’s invitation to get up and dance to the bumping mix blasting through the speakers, space sets the audience up for two things:

1. This play clearly takes place in some version of Rome.
2. Nothing can quite prepare the audience for the event that they are about to experience.

The Q Brothers Collective’s Rome Sweet Rome is an adaptation of William Shakespeare’s Julius Caesar, but with quite a few twists – including a full 90s hip-hop soundtrack and fun, top-notch choreography from Tanji Harper. The production is a party from the moment the lights come up, and looking around at the audience surrounding me at this performance, it was clear everyone was ready to lean in.

Caesar (POS), the charismatic tyrant at the center, carries a strong hold over Rome. He continues to pass increasingly absurd laws out of fear of losing that control. When Caesar makes the decision to outlaw bread, a select group decides it’s time to take action. Cash (Jonathan Shaboo), Brutus (Victor Musoni), and Casca (Danielle Davis) decide to stage a coup and take him down. The question is, will they succeed? Can they bring bread back to Rome before it’s too late?

Janyce Caraballo (center) with the company of Rome Sweet Rome at Chicago Shakespeare Theater, a wild and satirical new “add-rap-tation” of Shakespeare’s Julius Caesar from Q Brothers Collective (GQ, JQ, JAX, and POS). September 23-October 19, 2025, in the Courtyard Theater.

It’s not hard to miss the political undertones beneath. A power-hungry ruler at the center who continues to grasp at power in any way he can. This theme is present in the original source material and certainly makes its way into the adaptation. We continue to see history repeating itself. Greedy rulers leave voids for those just like them to take their place – often times more paranoid than the last and grasping even harder at whatever they can.

However, the Q Brothers do their work to carry the story further into today. In a key moment when Brutus turns to the audience and instead, makes it about us. The lights in the audience come up and he pointedly asks if this is what we want. Do we want to murder him? Do we see the trends and do we want to change them?  Musoni certainly builds a chemistry with the audience in this moment, and you might find it’s easy to allow the fourth wall to come down and begin to engage in the dialogue. Though a little on the nose, the message acts as a helpful reminder that these stories are more timely than ever. Perhaps we can all do with a little “on the nose” as we continue to navigate what to do next in this political climate.

Full of a pizazz and a poignant message, Rome Sweet Rome has a little something for everyone. Whether you are a die-hard Shakespeare fan or this is your first time with the material, the Q Brothers make Julius Caesar accessible, and even invite us to take a little accountability along the way.

RECOMMENDED

Rome Sweet Rome runs through October 19, 2025 at Chicago Shakespeare Theater. For tickets and information, see the Chicago Shakespeare Theater website.

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

Ser o no ser   esa es la cuestión

We are all familiar with Shakespeare’s iconic line: to be or not to be; famous enough that it doesn’t need the projected English supertitles to be recognized. This adaptation of the celebrated play is written and directed by Chela De Ferrari, in company with the eight actors from Teatro La Plaza: Octavio Bernaza, Jaime Cruz, Lucas DeMarchi, Manuel Garcia, Diana Gutierrez, Cristina Leon Barandiaran, Ximena Rodriguez, and Alvaro Toledo.

Teatro La Plaza, in partnership with the Chicago Latino Theatre Alliance, brings this production of HAMLET all the way from Lima Peru. This company of eight extraordinary artists explores the central theme of identity through their personal experiences as people with Down’s Syndrome. “I am not the same as you” resounds through the production, not as a theme of alienation but as a way to better understand the complex reality of being human. How Hamlet defines himself in a world that he is held apart from is explored through dance and song, humor and passion, bringing modern perspectives to the ancient play.  

The play is presented in several disparate and unique formats, incorporating pantomime and music, stagecraft and film. The cast is a true ensemble; all eight performers inhabit the title character of Hamlet at some point in the production, yet we are never confused, for all speak of their similar experiences with inclusion and discrimination.  “I am not the same as you” is not a lament but a celebration of uniqueness, a fusion of modern lived experience with 450-year-old words.

The screen behind the actors comes alive with unexpected images: from a graphic film of a baby’s birth to a question-and-answer session with Sir Ian McKellan about his interpretation and portrayal of Hamlet. Video Technician Dennis Hilario smoothly incorporates myriad visual effects throughout, complementing the brilliant cast performances.

In addition to the marvelous tutorial with Sir Ian (who must have reveled in the unique opportunity!), the cast appraises Laurence Olivier’s majestic performance, reminding us that the character of Hamlet is traditionally played by an iconic theatrical master. Writer-Director Chela De Ferrari boldly chose to assign that role to actors historically excluded from artistic and intellectual spaces, provoking us to experience Hamlet’s famous question, “Ser o no ser” personally and in real time.

De Ferrari developed the script with the cast over the course of a year, incorporating the actors’ personal experiences as people with Down Syndrome. The result combines Shakespeare’s 450-year-old verse with private anecdotes from the actors’ lives, adding a modern twist with music (Vocal Training, Alessandra Rodriguez), dance (choreography, Mirella Carbone) and video projections (Visuals Director Lucho Soldevilla). ‘To be or not to be’ is not spoken once by a single designated ‘Hamlet’; all the performers offer their own interpretation of the line via their personal struggles for existence. We learn how they, like Hamlet, strive to claim space in a world that deliberately overlooks them. Says De Ferrari, “Everywhere we go, audiences experience something beyond what they expected. Some arrive anticipating a ‘social project’ or an ‘amateur production’ but leave artistically and intellectually challenged.”

Central to the audience experience is the theme of joy, an emotion not typically associated with Hamlet. The play is a revenge tragedy, exploring despair, grief, and vengeance, and is well known for its many deaths, yet these imaginative Peruvian artists transform it into a celebration of life. Chicago Shakespeare Theater Artistic Director Edward Hall described it as ‘sunshine in a bottle’.

The play is performed in Spanish with projected English supertitles; the one aspect of this wonderful production that I had issues with. I found it difficult to read; the projected lines were too small and often not bright enough. BUT – do NOT let this observation keep you from attending HAMLET. Several people (including me) pointed out the difficulties to the crew and I have no doubt that lighting directors Marvin Calle and Jesus Reyes are addressing them.

Whether you’ve seen HAMLET onstage or not, you owe it to yourself to see this production of Shakespeare’s most famous play. The entirety of the plot is preserved, the most celebrated lines retained (“get thee to a nunnery!”), augmented and enlivened by the actors’ own experiences.

HAMLET plays at the Chciago Shakespeare Theatrer through March 23.

Very Highly Recommended!

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

Do not bring the kids to TITUS ANDRONICUS; it has 14 killings, 9 of them on stage, 6 severed members, 1 rape (or 2 or 3, depending on how you count), 1 live burial, 1 case of insanity and 1 of cannibalism – an average of 5.2 atrocities per act. We’re talking kung-fu, sword-fu, spear-fu, dagger-fu, arrow-fu, pie-fu … heads roll, hands roll, tongues roll, nine and a half quarts of blood flow – pretty gruesome, even for Shakespeare. We were offered seats within or outside the ‘splash zone’; we chose the former (of course) and were duly splashed.

TITUS ANDRONICUS, Shakespeare's bloodiest script, brings prejudice and the politics of revenge to the forefront – timely and apt, yeah? TITUS ANDRONICUS is one of the Bard’s lesser-known plays; co-adaptors Dusty Brown, Caroline Kidwell and Jordan Gleaves showed courage and foresight in bringing this controversial story to the stage and are rewarded by the aptness of this story to 2025 America. Prejudice and revenge? Yeah.

Redtwist Theatre is one of Chicago’s signature black box venues; its mission is to ‘create searing hot drama that builds empathy, dissects cruelty, and reveals broader truths.’ Their tiny black box venue becomes a thematic asset (TITUS ANDRONICUS seated 20), every show tailored to close the gap between actor and audience – literally and figuratively – adding ‘a little red twist’ to every production by exploring the violence inherent in our humanity.

Fine aspirations but challenging to realize. Redtwist was recently renovated, though We aim to create brave spaces, where listening and learning can take place.

The cast was phenomenal, as is to be expected in Chicago’s rich thespian environs.  Anne Sheridan Smith in the title role maintained their martial dynamism through a score of brutal spectacles, as did Sabine Wan as their sister Marcus. Caroline Kidwell personified the heroism of their mutilated daughter Lavinia while Philip C. Matthews was a compelling Lucius, sole surviving progeny of the Andronicus line.

On the other side of the conflict, Laura Sturm was redoubtable as Titus Andronicus’ captive Tamora, Queen of the Goths; the Emperor Saturninus (Joshua Servantez) is sufficiently impressed to marry and make her Empress, abjuring his engagement to Titus’ daughter Lavinia. This delights his brother Bassianus (Madelyn Loehr), who is in love with and betrothed to Lavinia.

Are you still following this? Iambic pentameter is challenging enough without so convoluted a plotline. The talents of Text Coach Meredith Ernst Maryfield were absolutely vital!

Meanwhile, back at the Emperor’s palace, Empress Tamora gives birth to a baby whose dark skin proves he was fathered, not by the Emperor but by the lowborn (not to mention Black) Aaron (James Lewis). Aaron is devoted to the infant, in stark contrast to his unrelenting inclination for inciting evil. He helps Tamora’s sons Chiron (Elijah Newman) and Demetrius (Quinn Leary) foil their brother Bassianus by capturing Lavinia, gang-raping her, and cutting away her tongue and hands to prevent her identifying them.

Tamora arrays herself as Vengeance and appears to Titus Andronicus with her sons, disguised as Murder and Rapine. Undeceived (and understandably, vexed by their pillage of Lavinia), Titus sends ‘Vengeance’ away, retaining ‘Murder’ and ‘Rapine’, both of whom he kills. He invites Tamora and Saturninus to a banquet and, after they’ve scarfed down every bite, reveals that the pie he served was made with the hearts of Demetrius and Chiron.

Once Tamora has eaten her fill of scion pie, he kills both her and (for some reason) his own daughter Lavinia. A rash of killings ensues, leaving alive only Marcus, Lucius, Young Lucius, and Aaron. Lucius has Aaron buried alive and Tamora's corpse thrown to the beasts and having thus demonstrated his fitness for office, he becomes the new Emperor, promising to Make Rome Great Again. The people of Rome refuse to accept it and march en-mass on the nation’s Capital … oops, sorry; that’s 2025; Lucius Andronicus took the throne in … well, TITUS ANDRONICUS is fictional so we can’t be sure, but we can be sure that history repeats itself.

Redtwist’s creative team makes all of this work, from Director Dusty Brown with Assistant Andie Dae to Stage Managers Eliot Colin, Raine DeDominici, and Ashley O’Neill.  I was deeply impressed with Scenic Designer Eric Luchen’s set: austere, even spartan, it accommodated the script’s complex depredations and treated most spectators to contact with a corpse if not baptism in blood. I loved Costume Designer kClare McKellaston’s fusion of modern and bling. Michael Dias’ gruesomely convincing stage combat was perfectly balanced by Intimacy Director Erin Sheets; powerful even at very close contact.

If you’d like to follow (another) depraved empire crumble from within, TITUS ANDRONICUS is for you. But let me repeat:  do not bring the kids!

TITUS ANDRONICUS plays at Redtwist Theatre through March 30.

HIGHLY RECOMMENDED!  By Sarz Maxwell

*Extended through April 6th

*You can also find this review featured on https://www.theatreinchicago.com/.

Lights come down at the top of the show. We are clearly in a rehearsal hall as the ensemble lets us know that it’s opening night of William Shakespeare’s Romeo and Juliet – and they cannot be more excited to perform the material. Video and Projection Designer Andrezej Goulding helps guide the audience to the right time and place with images at the back of the stage representing Elizabethan England. Costume Designer Paloma Young dresses the actors with an impressive nod to the traditional. As they prepare for the opening number, Lighting Designer Howard Hudson zooms in on the cast with radiant color as they slowly move center stage. Fans in the audience may recognize the familiar starting notes of the song, but if not, the lyrics are likely to help fully draw you in:

“All you people can’t you see, can’t you see.
How your love’s affecting our reality.
Every time we’re down, you can make it right.
And that makes you larger than –“

William Shakespeare (Corey Mach) runs on stage to continue the song as this particular performance’s audience goes wild. &Juliet is a jukebox musical of iconic pop songs, and Max Martin (the talented creative behind Music and Lyrics) and book writer David West Read waste no time throwing us in with one of the famous throwbacks from the Backstreet Boys – “Larger than Life.” As the ensemble performed Jennifer Weber’s choreography, this audience felt one step away from jumping on their feet to dance along. The overall feel is like that of a pop concert, and the energy only heightens from there.

Directed by Luke Sheppard, & Juliet takes place on the opening night of Shakespeare’s Romeo and Juliet. As the cast prepares to rehearse the ending, his wife, Anne (Teal Wicks) unravels everything with a twist. What if Juliet didn’t end it all over Romeo but instead, went on living? What if the famous love story actually began with Romeo’s death, and instead created an opportunity for Juliet to go out and experience life? As Shakespeare and Anne co-write (and argue over) the new story, we are invited along on the journey as Juliet (Rachel Simone Webb) sees the world through new eyes – even inviting Anne and Shakespeare to learn a little something about their relationship along the way.

To say that Sheppard’s ensemble is full of stellar performers is an understatement. Each actor carried a vocal belt that rang from the rafters as they brought the boppy score to life. Pop fans will recognize a number of the hits including “Since U Been Gone,” “I Want it That Way,” “Domino,” “Roar,” and “It’s My Life.” Particularly when combined with Weber’s choreography and the vibrant design scheme, you might just find yourself sitting on the edge of your seat – afraid you will miss something if you so much as blink.

Michael Canu and the company of the North American Tour of & JULIET.

As much as the musical feels like a pop concert with high energy and fast-paced music, you might find that a large part of what sells the show is the heart – particularly as Anne learns to find her voice alongside Juliet.  

In an effort to find agency, Anne writes herself into the story as one of Juliet’s best friends – helping her along as she gets over Romeo and finds new life in Paris, France. When Juliet finds herself in the middle of a major romantic decision, Anne sits her down and shares her own story. Her marriage to Shakespeare has never been easy, and she has to navigate the highs and lows of that every day. 

The two begin to sing Celine Dion’s “That’s the Way it Is” – which is quite the tonal shift. In contrast to the larger-than-life choreography and light show from earlier, Sheppard pairs it down – focusing on the two women simply sitting in chairs at the center of the stage. We are left with little more than the actors themselves and their stunning vocals – filled with the heartbreaking emotion of the moment. If you’re anything like this writer, you may even find yourself moved to tears – watching these two women empower each other to not only move on, but also aim for better.

Full of jaw-dropping talent and creative pizazz, & Juliet is a theatrical event that leaves you wanting more. Especially for those who grew up listening to the pop sensations of the Backstreet Boys and Brittany Spears, the musical is sure to thrust you into nostalgia.

Run Time: 2 hours and 40 minutes, with intermission

HIGHLY RECOMMENDED

& Juliet runs through December 15 at the Cadillac Palace Theatre – 151 W Randolph St. See the Broadway in Chicago website for more information regarding tickets.

Invictus Theatre Company’s latest production of The Tragedy of Macbeth, adapted and directed by Sarafina Vecchio, delivers a potent, intense experience that brings Shakespeare’s tale of ambition vividly to life. This production leans into the raw and brutal aspects of the play, creating an atmosphere thick with dread and foreboding. With excellent performances and a thoughtfully designed set, Invictus’s Macbeth stands out in the Chicago storefront theatre scene as a bold approach to one of Shakespeare’s most famous works.

At the heart of the production is Mikha él Amin in the title role. Amin brings a formidable presence to Macbeth, portraying a general-turned-tyrant with both vigor and subtlety. His portrayal balances Macbeth’s inherent ferocity with moments of doubt, remorse, and even fear as he descends into madness. Amin’s performance is well-matched by Carolyn Kruse as Lady Macbeth, who brings a fierce, complex energy to the character. Kruse’s Lady Macbeth is haunting, ambitious, and unyielding, yet she skillfully peels back layers to reveal her character’s vulnerability and psychological unraveling. Amin and Kruse ignite the stage with their magnetic performances, creating scenes of palpable intensity that hold the audience spellbound.

Adding to the haunting atmosphere are the three witches, portrayed by Christy Arington, Tessa Dougherty, and Julia Rowley. Their performances are eerie and grounded, capturing the supernatural essence of their characters while also bringing an almost elemental quality to the stage. Their dynamic movements and interwoven voices create a sense of otherworldly presence that lingers throughout the play, underscoring the tragic path Macbeth chooses.

The supporting cast is equally impressive, with Michael B. Woods as Macduff and Diego Longoria as Malcolm delivering strong performances. Woods’s portrayal of Macduff is both intense and deeply felt, particularly in his reaction to the tragic news about his family. His confrontation with Macbeth is powerful, filled with a mix of righteous anger and despair that grounds the play’s emotional climax. Longoria brings a sense of resolve to Malcolm, effectively conveying his transformation from a hesitant prince to a determined avenger. Joshua Razavi as Lennox, Aimee Kleiman as Rosse, and Charlie Diaz as Banquo also add depth to the story, each bringing unique qualities to their roles.

Manuel Ortiz’s scenic design and Cindy Moon’s costume design work in harmony to create a visually arresting production. Ortiz’s set—a sparse, Scottish clearing with stone carvings—evokes the stark beauty and rugged landscape of the Highlands. The carved stones suggest an ancient, mythic past that mirrors the play’s themes of fate and inevitability. Meanwhile, Moon’s costumes are richly layered, providing insight into each character’s status and role. Her war outfits are particularly notable, with armor and fabric choices that reflect the grueling, blood-soaked conflicts in the story. The costumes not only enhance the period feel but also convey a sense of realism, showing the wear and tear of lives shaped by relentless battle.

Under Vecchio’s direction, the production maintains a taut, relentless pace. The play feels almost claustrophobic in its intensity, with each scene building steadily toward the tragic climax. Vecchio’s staging highlights both the psychological turmoil of the central characters and the brutal violence that punctuates their journey. The fight choreography by Violent Delights is visceral and realistic, adding to the bloody, unforgiving tone of the production. In many ways, Vecchio’s direction echoes the grandeur and darkness typically associated with larger, more established theaters, making it clear that Invictus Theatre is a force in the storefront theatre community.

Overall, Invictus Theatre Co.'s Macbeth is a triumph. With exceptional performances, evocative design, and tight, effective direction, the production successfully brings Shakespeare’s tragedy to life in a way that is fresh yet faithful to the original text. It’s an immersive and unforgettable experience that cements Invictus Theatre’s place among the top-tier Chicago theatre companies.

Highly Recommended
When: Through Dec. 15
Where:  Invictus Theatre @ Windy City Playhouse, 3014 W Irving Park Rd, Chicago
Tickets: $25 - $38
Info: invictustheatreco.com