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: The Merry Wives of Windsor - Chicago Shakespeare Theater

Delightfully Devious Duo Meets Rotund Rapscallion!
PicksInSix® Review | Ed Tracy

Directed with comic zeal by Phillip Breen and featuring Jason Simon in a terrific performance as the rotund rapscallion Sir John Falstaff, Chicago Shakespeare Theater’s lively production of “The Merry Wives of Windsor” is a rip-roaring farce if ever there was one. Set in modern times that often stretch the imagination, the sparkling cast delivers a robustly-paced theatrical gem on Navy Pier!  

Breen’s familiarity with the challenging material pays off. He has certainly discovered every intended comic opportunity—and countless others for good measure—and hits the mark at every turn, all centered around the dubious exploits of Simon’s Falstaff that fail like clockwork, not once, but three times at the hands of the delightfully devious duo of Mistress Ford (Issy Van Randwyck) and Mistress Page (Ora Jones). From the moment they receive identical love letters from Sir John, the two work in tandem to cook his goose while remaining undetected by their husbands, Master Page (Chiké Johnson) and Master Ford (Timothy Edward Kane), despite suspicions to the contrary. Aye, there’s the rub!

Who could blame them for their playful mischievousness? Falstaff’s overt desires turn away his entourage (the entertaining trio of Bardolph (Teddy Gales), Pistol (Colin Huerta), and Nym (Zack Bloomfield)—leaving him vulnerable to the combined forces of the merry wives and the spirited Mistress Quickly (a charming role for Nancy Voigts). As a result, Falstaff must unwittingly fend for himself, eluding discovery by the jealous Ford (Kane) by stuffing his magnificence in a laundry box that is later tossed away in the Thames and then forced to don lady’s clothing and endure an unseen thrashing during a hasty retreat. Throughout, Simon’s Falstaff is never the victim, but rather a hapless fop, like a dog with bone, easily swayed by flattery and the promise of passionate fulfillment. When he concedes a third time to a meeting in Windsor Park, now in the guise of “Herne the Hunter” with everyone in on the ruse, Falstaff is finally, and publicly, humiliated for his transgressions, and must makes amends.

In addition to the brilliant performances by Randwyck, Jones and Kane, the cast is loaded with Chicago talent from top to bottom including Nick Sandys (Sir Hugh Andrews), Paul Oakley Stovall (Justice Shallow), Alex Weisman (Slender), Nate Burger (Dr. Caius) and Bret Tuomi (Host of the Garter Inn). In the love story, Oliva Pryor is an earnest Anne Page, whose marital future lies with one of three suitors, Caius, Slender and Fenton, who is played by Sam Bell-Gurwitz, and is the true object of her affections.

Rich scenic and lavish costume designs by Max Jones—particularly the Ford’s elegant home, the Garter Inn and in the haunting Windsor Park—are visually striking with notable surprises dropping down from above and phoning in from below. The Jentes Family Courtyard Theatre is awash in Marcus Doshi’s crisp lighting design and the lush soundscape by Lindsay Jones, with the clever use of some contemporary songs that bust out along the way.

All in, Shakes “Merry Wives” is at its’ very merry best when Simon is uproariously navigating the fine line of reckless passion and the resulting over-the-top antics set in motion by the far superior wives who keep us rooting for his inevitable comeuppance. From his larger-than-life grand entrance to his humbling demise, Simon delivers a flawless performance and rightly receives a glorious and genuinely warm last laugh for his efforts, sprinkled with a tender touch of finality for one of Shakespeare’s most enduring characters.

PHOTO|Kyle Flubacker

Chicago Shakespeare Theater
presents
The Merry Wives of Windsor
Navy Pier
through May 3, 2026

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PicksInSix Review: Seagull - Steppenwolf Theatre Company

A SIGN OF THINGS TO COME
PicksInSix® Review | Ed Tracy

There were many standout performances on Saturday night at the press performance of the Steppenwolf Theatre Company’s “Seagull,” the first-ever production in The Ensemble Theater in Honor of Helen Zell, the crown jewel of the Liz and Eric Lefkosky Arts and Education Center. It’s all part of a multi-phase $73 million expansion plan for the Steppenwolf campus on North Halsted. And it’s magnificent!

With no slight intended to the superb cast that translator/adapter/director Yasen Peynahov has assembled for “Seagull,” the most significant performance of the night was the gleaming Ensemble Theater itself – a steep pitched, in the round 400-seat gem outfitted with state-of-the-art technology that extends well past the visually arresting stage to areas above and below that will serve Steppenwolf’s aspirations for the campus as a complete performance and educational center for decades to come. Bravo!

In the midst of Peynahov’s crisp and concise adaptation of Chekhov’s “Seagull” was Steppenwolf co-founder Jeff Perry—one of Chicago’s most celebrated actors—in the role of Peter Nikolaevich Sorin, the patriarch of the family whose summer estate by the lake is the playful setting for Chekhov’s generational drama of unrequited love. There is a special chemistry that Perry shares with Lusia Strus, who plays Sorin’s sister Irina, a renowned stage actress. Their heartfelt stage presence and the compassion for each other is palpable and central to the evolving story of Irina’s son, a young struggling playwright, Konstantin (Namir Smallwood) whose love for Nina (Caroline Neff) becomes an obsession that ultimately drives Nina away and into an affair with Boris Trigorin (Joey Slotnick) who is a well-known author and Irina’s lover.

Konstantin is oblivious to the affections of Masha (Karen Rodriquez) who is the daughter of the caretaker Ilya (Keith Kupferer) and yearns for his affections, sharing confidences with the doctor Yevgeny Dorn (Eric Simonson) who is coupled with Polina Andreevna (Sandra Marquez). John Hudson Odom plays Semyon Medvedenko, while Elijah Newman is everywhere as Yakov.

Peyankov has found a unique accessibility in Chekhov’s work, expertly compressing it to two well-paced acts and building around the sordid affair between Nina and Trigorin. Things smolder when they are together and their passion resonates, fanning the rejection and remorse that drive’s Konstantin’s own frustration with Nina early on. For a time, we believe in the possibility that Konstantin, who lives in the shadow of his famous mother, might rise above the torment and heartache that is all encompassing. But it is not to be. When Nina finally returns, broken and deranged, she is still undeterred in her love for Trigorin, a final rejection too great for Smallwood’s keenly introspective Konstantin to bear.

The stunning scenic element of the night is an impressive multi-purpose hydraulic system courtesy of scenic designer Todd Rosenthal which combines with evocative lighting by Marcus Doshi and sound design by Pornchanok Kanchanabanca, who also contributes original music. Ana Kuzmanic’s stellar costume creations, particularly for Strus, are a highlight. Overall, one of the most impressive aspects of this new space is the natural and rich acoustic design that allows even the hushed whispers to be heard with clarity and nuance from every seat in the house. A sign of things to come. 

Casting Note: Scott Jaeck joins the cast in the role of Sorin from May 24-June 5.

PHOTO|Michael Brosilow

Steppenwolf Theatre Company
presents

SEAGULL

Ensemble Theater
1650 N. Halsted St.
through June 12, 2022

(312) 335-1650

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