PicksInSix Review: The Comedy of Errors - Chicago Shakespeare Theater

Comedy of Errors – “Thanks. Very Much!”
PicksInSix® Gold Review | Ed Tracy

In perhaps one of the most inspired and hilarious opening scenes in recent memory, Barbara Gaines launched her final stage production as Chicago Shakespeare Theater’s Founder and Artistic Director not with a hearty hail and farewell, but instead a hilarious delivery.

Four of them actually.

The seafaring journey that follows for two sets of identical twins at the center of chaos and confusion is just the beginning of a wild and wondrous adventure. Gaines’s uproarious, over-the-top adaptation of “The Comedy of Errors” is really two shows, in fact, weaved together as one. Shakespeare’s tale of mistaken identities, mischief and mayhem is framed by an altogether new and fascinating story all its own—magnificently conceived by Gaines and brilliantly written by Ron West—that is set on a 1940 London soundstage. The developing storylines of the players is underscored by terrific musical performances, frequent Luftwaffe bombing raids, live Foley sound effects and just the right amount of hijinks and slapstick.

The play centers around the twins who are separated soon after birth by a shipwreck at sea.  Now adults in Ephesus, Antipholus from Syracuse (Robert Petkoff) and Antipholus from Ephesus (Dan Chameroy), along with their servant twins, Dromio of Syracuse (Ross Lehman) and Dromio of Ephesus (Kevin Gudhal) find themselves confounding Adriana (Susan Moniz), the wife of Antipholus of Ephesus, her sister Luciana (Melanie Brezill), the merchant Angelo (Brezon Arzell) and virtually everyone else.

Lehman also plays Dudley Marsh, the director of the film storyline and married to Veronica (Moniz) who is having a torrid affair in plain sight with Emerson Furbelow (Petkoff). Meanwhile Lord Brian Hallifax (Gudhal) is forever posturing for and expanding upon his stage real estate at every opportunity with hilarious consequences. Add to this powerhouse quartet the likes of Phil Sullivan (Chameroy), a dashing, aviator and crooning heartthrob for the charming Lillian Castillo (Marian), with the accident-prone stage manager Charles Chittick (William Dick) and you have the makings of a comic ensemble that’s on fire all night.

A spectacular set design by James Noone evokes the grandeur of filmmaking in a bygone era. It’s a gem that benefits from the stagehands quietly and effortlessly moving on and off in the context of the film shoot. The Courtyard Stage is awash with color and detail from Ken Posner’s lighting design, Mieka Van Der Ploeg’s stunning costumes and Lindsay Jones’s crisp sound and original music.

In a show filled with superb featured character roles, Ora Jones (Abbess), Adia Bell (Fanny) and Bruce A. Young (Monty/Duke) all stand out. Greg Vinkler shines as the ruddy Admiral Philpot and as his brother Eddie Philpot, funnyman Bill Larkin provides the oft-repeated phrase of the night that everyone will be saying to Barbara Gaines in appreciation of her decades of commitment to making Shakespeare accessible to everyone: “Thanks. Very Much!”

PHOTO|Liz Lauren
Barbara Gaines|Joe Mazza

Chicago Shakespeare Theater
presents
THE COMEDY OF ERRORS
Courtyard Theater
Navy Pier
through April 16

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PICKSINSIX Review: Father Comes Home from the Wars (Parts 1, 2 & 3)

“HERO HAS BEEN CALLED TO SERVE!”

An ageless struggle... The lyric voice of the Oldest Old Man rings true when he confronts Penny about the reasons for Hero to join the Confederate cause early in Part 1 of the Chicago premiere of Suzan-Lori Parks' epic Father Comes Home from the Wars (Parts 1, 2 & 3) directed by Niegel Smith. With all the passion of one who understands an ageless struggle for a cause greater than himself, he emphatically pleads “Hero has been called to serve!” It is a complex and conflicted decision that Hero alone must make in this dark and sullied era of our nation’s history.

No common ground... It is clear from Hero’s journey that we are today no better connected together than 150 or 200 years ago. Our culture, so often portrayed in only black or white, seems to have no common ground. There is a reason to hope that Ms. Parks will help to heal the open wounds that her glorious work exposes so well, with so much passion, humor and at a tempo that makes us lose ourselves in the telling and our deep sense of regret and despair. 

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The heroic myth ... You will be both rewarded for your time and well-prepared for the next six-parts of the story which are in development now from an astoundingly original playwright who is the first African-American woman to win the Pulitzer Prize for Drama. Decades from now, all this will certainly be a commanding challenge for any theater company to play in repertory and one that is already highly-anticipated – the heroic myth – an epic journey of intersected characters and generational transformations as the title suggests. In the meantime, we are fortunate to have an extraordinary ensemble on full display at Goodman in a stirring production worthy of the material.

Challenging loyalty... Be sure to pay particular attention to the Homeresque opening monologue artfully delivered by the Leader(Jacqueline Williams) that sets the stage for all that follows. Struggling with the impact of slavery and all of the ideals restricting freedom and challenging loyalty, there is one particularly astonishing moment in Part 2 when the Colonel(an icy William Dick) revels in the thrill of human ownership and in so doing, sucks the air out of the room.

The wrong side of history... With the war drawing closer to home, the conflict of slaves conscripted to fight on the wrong side of history is the pivotal decision Hero must make in Part 1. Part 2 is set on a hot afternoon in a shady grove with the Colonel, Hero and a wounded Union prisoner. Part 3, aided by a Greek chorus of runaways and a human dog, unravels the futility of the conflict and lays forth the inevitable, sordid human costs of war.

Highly-charged... It is the riveting, highly-charged performance of Kamal Angelo Bolden’s Hero that churns mightily throughout while Jaime Lincoln Smith’s resonate Homer and the impassioned performance of Aimè Donna Kelly as Penny are capitivating. Dick and Demetrios Troy’s Smith propel Hero's journey in Part 2 and provide the most chilling and acerbic views of what it is to be white, own property and place race at the center of the argument. Watching this unfold and leading the way is the Musician, a superb crossover performance from Chicago blues artist Melody Angel. The exceptional cast includes Ernest Perry, Jr (Oldest Old Man) and BrittanyLove Smith, perfect as man’s best friend, of which there are few in this darkly rich introduction to what is sure to be a much-talked-about epic trilogy... only at Goodman through June 24th, and then the journey continues elsewhere.

PHOTOS|Liz Lauren



Goodman Theatre
Presents
Father Comes Home from the Wars (Parts 1, 2 & 3)
Written by Suzan-Lori Parks
Directed byNiegel Smith
through June 24th
312.443.3800

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PICKSINSIX Review: BLIND DATE

'BLIND DATE' "REAL PEOPLE ... WORLDLY VISION"

A turning point... As the clandestine meeting between Ronald Reagan and Mikhail Gorbachev is about to begin at the Geneva Summit, then Secretary of State George Shultz and his counterpart, Soviet Minister of Foreign Affairs Eduard Shevardnadze, share a reflective moment. While looking out at the lakefront, Shultz notices Shevardnadze’s granddaughter scurrying about. It is significant, Shultz remarks, that he brought his granddaughter to such a turning point in international relations. Shevardnadze tells Shultz he is merely babysitting.  Conversations like this one, between real people with a worldly vision, run deep through the Goodman Theatre’s sophisticated and smart world premiere production of Blind Date.

Reagan/Gorbachev legacy... the sweeping epic storyline, written by the award-winning playwright, Rogelio Martinez under the direction of Goodman Theatre Artistic Director Robert Falls, brings East and West together in a fascinating historic reimagining of the first face-to-face meeting of Ronald Reagan and Mikahal Gorbachev. It is an insider’s view of the Reagan/Gorbachev era of hard-nosed diplomacy and line-in-the-sand Cold War rhetoric. And, there is the intrigue - and a fair amount of humor served up diplomatically - surrounding the closed-door meeting of two leaders who clearly understood the impact they would have on their two countries and the world.

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A Four-Picture Deal... years after an assassination attempt and with direct involvement from Nancy Reagan, George Shultz and everyone else close to him, Reagan’s cinematic instincts remain keen. A Reagan soundcheck has international implications and there were spiritual forces at work at the time, as we now know. As if on cue, Reagan adeptly turned film references into policy points. Meanwhile, Gorbachev was redefining the Soviet Union’s place in the world order. Lots to ponder and the air crackles with the consequences of failure. “Well…”says Reagan, “The American people gave me a four-picture deal!” So, that means there is plenty of time and lots of stories to tell.

Public jousting... Shultz and Shevardnadze meet to broker a meeting between the two superpowers. Reagan offers up Washington, DC for the first site. Gorbachev refuses. Formal correspondence is exchanged and more public jousting, until the Geneva Summit is approved and scheduled in November 1985 at a time when the stars would be precisely aligned. While Gorbachev is heavily briefed and apparently starts watching American movies, Shultz plants the seed for a private meeting to mix things up and the rest is, well… history, including another clandestine meeting - that between Nancy Reagan and Raisa Grobachev – a delightfully engaging hand of liars poker, tea time style.

Top-flight cast... Rob Riley (Ronald Reagan), William Dick(Gorbachev), Deann Dunagan(Nancy Reagan) and Mary Beth Fisher(Raisa) are all excellent and bring an authoritative air to the piece leading a top-flight cast. Jim Ortlieb (Shultz) and Steve Pickering(Shevardnadze) along with Thomas J. Cox (Reagan biographer, Edmund Morris) combine brilliantly to frame historical context, sharing thoughts and possible outcomes along the way. 

And, well, there’s much more... the massive, revolving conical set design by Riccardo Hernandez, lighting by Aaron Spivey and period perfect costumes by Amy Clark evoke a time of grand purpose and stately respect for two world leaders whose vastly opposing points of view might actually find some common ground in the future.

The takeaway… History happens while babysitting. Let someone take the kids for the night or bring a blind date of your own for this gem now playing at the Goodman Theatre. 

PHOTOS|Liz Lauren

GOODMAN THEATRE
Presents
BLIND DATE
by Rogelio Martinez
Directed by Robert Falls
through February 25, 2018
170 N Dearborn Street
(312)443-3800
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