PicksInSix Review: As You Like It - Writers Theatre

TOP-NOTCH ENSEMBLE SHINES AT WRITERS!
PicksInSix® Review | Guest Contributor | Ronald Keaton

There is, up in Glencoe, a unique and striking musical adaptation of William Shakespeare's comedy masterpiece “As You Like It” playing at Writers Theatre through December 14. It's directed by Nichols Artistic Director Braden Abraham in bold, wonderfully outlandish strokes that enhance this story of lost souls who all find each other in the Forest of Arden. There is a magic in Arden. Everyone experiences a kind of ethereal conversion in attitude and outlook. Arden thus symbolizes more—a place of refuge and spiritual comfort, a haven of freedom.

There is a great deal of plot in the play that is simply too thick to fully share. Yet the adaptation by Shaina Taub and Laurie Woolery make highly accessible, in plain language, the various plot points that the Bard offers. They do not hesitate to use plain and modern language to help the storytellers along, and it's a welcome tool to have. Yes, the aficionado does miss some of that wonderful poetry, chiefly Jaques' classic, rueful rumination on life about the "seven ages of man." And then there's his sharp and welcome banter with the fool Touchstone in Shakespeare's play. But in hindsight, this approach doesn't really serve the Taub and Woolery vision. They see other ways to go.

Instead, the migration of unhappiness from the Court of Duke Frederick that ends up in Arden takes the well-known sentiment of contemporary life 'love is love is love...' to new places here. There is a company of subjects—including Duke Senior, his daughter Rosalind, his niece Celia and Touchstone—who all leave to find their romantic fortunes, banished by Frederick. One young man, Orlando, has become a kind of celebrity for his win in a wrestling match, while his brother Oliver starts out as a real bully in picking on Orlando. Through their own issues, they both end up in Arden and mend fences. And we've only just begun.

Eventually in this story, there is a literal quartet of lovers—traditional, same-sex, comic and dramatic—that celebrates their newly found love and release from the pressures of the world. The music/lyrics by Tony winner Taub are a potpourri of folk styles and rock rhythms, all filled with style and maturity. The music is played by an onstage, ragtag group, perfectly complimenting the action. Music direction came from the versatile Michael Mahler. The band is fronted by Matthew Yee as Jaques, who here becomes a kind of eloquent narrator of the action, while performing his scenes with the ever-present guitar in hand. It's an inspired placement of the character and fabulous usage of Mr. Yee's talents.

The tight cast is one of the great examples of ensemble acting this writer has seen in musical theatre in quite a while, as well as top-notch creators to represent. Everyone (and I mean everyone) has a moment or two to shine while being present in the story for the others. A few to mention, while honoring the truly professional level that all the actors reached: Benjamin Mathew's Orlando is passionate and aware of those passions at every turn. The Rosalind of Phoebe Gonzalez, whose male guise of Ganymede teaches Orlando to woo Rosalind, is charming and full. Andrea San Miguel offers a Celia ripe with energy and purpose. The great clown Touchstone lives in the capable, expert hands of Jackson Evans. There's the overbearing brother Oliver (the smooth, deep-voiced Anand Nagraj). The two Dukes—Frederick (Scott Aiello, tough and demanding) and Senior (Paul Oakley Stovall, subtle and tender)—show their family leadership constantly, even as they are on opposite sides. Chicago treasure Janet Ulrich Brooks shows up in at least three different characters, each expertly articulated. Please take note: the entire cast knows how to support each other, a refreshing and telling sign with work of such high quality. And a real bow to Mr. Abraham's direction.

Shakespeare's famous line "All the world's a stage, and all the men and women merely players" is not forgotten here either, and it receives a Taub examination in a song lyric:  "All the world's a stage / And everybody's in the show / No one's a pro" is the first song we hear. It's sung by Mr. Yee as Jaques, the character who speaks the original line in the Shakespeare play. Same sentiment, more accessible and, in its own way, properly applied to today.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.org.  Coming soon, his new solo play about Ben Franklin, THE FIRST EMBASSY.

PHOTO | Jenn Udoni

Writers Theatre
presents
AS YOU LIKE IT
325 Tudor Court
Glencoe, IL
through December 14

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PicksInSix Review: Twelfth Night - Chicago Shakespeare Theater

“Twelfth Night” — Free-Spirited, Comic Gem!
PicksInSix® Review | Ed Tracy

Without a doubt, the astounding quality and resulting popularity of productions of Shakespeare’s work at Chicago Shakespeare Theater rests firmly on the theater’s decades-long artistic commitment to presenting work with universal clarity and understanding, multi-talented casts and purely whimsical staging. A large part of this artistic ethos has to do with the diversity of the massive audiences drawn to Navy Pier, a top Midwest destination attraction that offers a once-in-a-lifetime experience for visitors to Chicago and an endless stream of students whose trip to the magnificent Courtyard Theatre is often their introduction to both theater and Shakespeare.

So, it is no surprise that the opening of “Twelfth Night”—a free-spirited, comic gem directed by Tyrone Phillips—was enthusiastically received on Thursday night. Shakespeare’s celebration of the many facets of love, and its impact on who we are, takes on new meaning in Phillips adaptation which is at the same time true to the comic roots of the original and cleverly awash with 21st century references that fit together seamlessly. With Shakespeare’s robust characters bursting forth with purpose, passion and promise, Chicago Shakespeare’s “Twelfth Night” is clever, smart and a joy to watch from beginning to end.

Set in the Caribbean, the story revolves around the separation of shipwrecked twins Viola (Jaeda LaVonne) and Sebastin (Justen Ross) on the island of Illyria. In order to deal with the grief and abandonment that she is feeling with the supposed loss of her brother at sea, Viola disguises herself as a young man named Cesario and takes a position as page to Duke Orsino(Yao Dogbe). The Duke implores Viola(as Cesario) to become the intermediary for his love interest, the Countess Olivia(Christiana Clark) who is in mourning herself about the recent passing of her brother. While Viola finds herself falling hard for the Duke, Olivia, determined to shun the Duke, begins to woo Viola(as Cesario).

Olivia lives with her uncle Sir Toby Belch (Ronald L. Conner) who spends most of his time in drunken—and hilarious—merrymaking with his companion Sir Andrew Aguecheek (Alex Goodrich) along with Olivia’s gentlewoman Maria (Danielle Davis), Fabian (Shelby Lynn Bias) and the jester Feste (Israel Erron Ford).  The group’s brand of roguish behavior riles Olivia’s cynical steward Malvolio (Paul Oakley Stovall) into such a fit that the group conspires to deceive him into believing that Olivia is enamored with him. One comic situation follows another with love eventually conquering all.

The show is infused with a universal blend of contemporary hip-hop and reggae music by music director Robert Reddrick and movement director Sadira Muhammad that befits the storytelling. Philips and his creative team, led by scenic designer Sydney Lynne with costume designer Christine Pascua, have conceived a striking seaside atmosphere that transitions effortlessly from scene to scene. With extraordinary precision, the crystal blue Caribbean skies turn to a thunderous rainstorm in the blink of an eye and a nod to the evocative lighting design of Xavier Pierce, stunning projections by Mike Tutaj and an intricately charged sound design by Willow James.

It all feels like an expertly-crafted ensemble piece. LaVonne’s earnest and engaging Viola/Cesario is a delight. Sir Toby Belch and Aguecheek, two of Shakespeare’s most beloved comic foils, are played here by Conner and Goodrich with reckless comic abandon. Davis, whose sustained laughter is infectious, and the sublime vocals of Ford, round out the band of hooligans at the center of the comic subplot to upend Stovall’s staunchly priggish servant turned infatuated manic lover Malvolio—the brilliant and commanding performance of the night—all make “Twelfth Night” a show to see and enjoy!  

PHOTO|Liz Lauren

Chicago Shakespeare Theater
presents
TWELFTH NIGHT
Courtyard Theater
Navy Pier
through November 26

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