PicksInSix Review: The Winter's Tale - Chicago Shakespeare Theater

‘Winter’s Tale’– A Study of Extremes.
PicksInSix® Review | Ed Tracy

You can be sure that at some point in an early production meeting for Chicago Shakespeare Theater’s “The Winter’s Tale,” CST Artistic Director Edward Hall surely said that the bear at the center of Antigonus’s famous demise needed to be big. Extremely BIG!

It’s a singular highlight of many in Hall’s ambitious and thrilling 40th season opener that debuted on Sunday with the first of two of Shakespeare’s plays presented in repertory by a company of 14 exceptionally gifted actors, many of whom have been at the heart of the theatre's work for decades. The connective tissue between “Winter's Tale” and the second offering, “A Midsummer Night’s Dream,” are two studies of dramatic extremes centered around love, jealousy, loss and redemption. “Winter’s Tale,” with its dark and disturbing opening, sets a much more serious set of circumstances then the fantastical frolicking of fairies in “Midsummer.”

The inherent elements in the drama of “Winter’s Tale” revolve around the unyielding actions of Sicilia King Leontes (Demetrios Troy), a jealous cad who is unable to contain his rage and hatred amid his own unfounded suspicions of an affair between his pregnant Queen Hermione (Jessica Dean Turner) and his longtime friend Polixenes (Chiké Johnson), King of Bohemia. The fallout from Leontes’s actions lead to the banishment of his baby daughter Perdita and the unseen deaths of Hermione, reported by Paulina (Issy Van Randwyck), and their son Mamillius (Felicia Oduh). As Act I draws to a close, Leonte withdraws into deep depression after learning the truth from the oracle of Delphos presented at Hermione’s trial for adultery. If that is not enough heartache, consider Leonte’s order to his attendant Camillo (Erik Hellman) to kill Polixenes, who tells Polixenes of the scheme and then escapes to Bohemia with him. All the while the dutiful Antigonus (Ronald L. Conner), Lord of Sicilia, abandons the baby Princess Perdita in Bohemia before meeting a tragic end himself by the aforesaid bear.

As a breath of fresh air, Act 2 begins 16 years later in the colorful Bohemian opulence where Perdita (Oduh) has been raised by the Old Shepherd (Kevin Goodall) and his simple son the Young Shepherd (Dan Haller). Hall creates a festive atmosphere in Bohemia with innovative staging and the spirited music of the band “Sheep Trick” with its charismatic frontman Autolycus (Sean Fortunato). In another stellar comic performance, Fortunato dazzles as a salty rogue whose endearing charm and captivating nature literally strip the pants off Haller’s Young Shepherd. Autolycus eventually gets his comeuppance but not before Fortunato delivers a belly full of broad laughs.

Perdita and Polixenes’ son, Florizel (Esteban Ortiz-Villacorta), declare their love for each other despite his father’s disapproval. Returning to Sicilia, and with the passing of time exposed, so is the fine line between remorse and redemption. Always a challenging element of this particular play based on what has come before, Hall masterfully navigates the staging of the emotional reconciliation. While there is hope for the young lovers, a powerful and timely message of the moment about repentance and forgiveness is delivered that felt truer to the story than in any other production I have ever seen, and all without a spoken word. Watch for the moment. It is quite remarkable.

Hall’s repertory company is universally excellent. There are clever and entertaining performances of original compositions by Kieran McCabe throughout. Michael Pavelka’s elegant costumes and expansive set design transforms effortlessly from a courtly manor to a textured, earthy look awash in color for Bohemia with eye-popping projections. Marcus Doshi’s stunning lighting design, with an arresting soundscape by Emily Hayman, completes a versatile and visually stunning look for this superb production.

PHOTO|Kyle Flubacker

Chicago Shakespeare Theater
presents
The Winter’s Tale
Courtyard Theater
Navy Pier
through December 12, 2026
In repertory with
A Midsummer Night’s Dream
November 11, 2026 through January 3, 2027

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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

WEBSITE

TICKETS

For more reviews, visit: Theatre In Chicago

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PicksInSix® is a registered trademark of Roxbury Road Creative, LLC