REVIEWS
“SHAKESPEARE IN LOVE”
Regina M. Belt-Daniels
WHEN: Through June 11 WHERE: Chicago Shakespeare Theater on Navy Pier, 800 E. Grand Ave., Chicago COST & INFO: Tickets start at $58. Tickets and information: www.chicagoshakes.com or 312-595-5600.
You do not need to like Shakespeare to enjoy Chicago Shakespeare Theater’s 30th season culminating production of “Shakespeare in Love.” This Rachel Rockwell-directed romantic comedy is enchanting, spirited and comfortable. Based on the Academy Award-winning 1998 film of the same name, “Shakespeare in Love’s” screenplay, penned by Marc Norman and Tom Stoppard, was adapted for the stage by Lee Hall – that’s three Tony and Olivier award winning playwrights who crafted this piece of historical fiction. The plot is delicious. Young aspiring playwright Will Shakespeare is in a bit of a mess. He has writer’s block and is overdue in completing his latest dramatic comedy, “Romeo and Ethel, the Pirates Daughter.” And he’s promised the comedy, which may or may not have a dog (you’ll get that reference when you see the play), to two competing acting troupes. Fortunately, Will meets Viola de Lesseps, a maiden of money and status, but, unfortunately, soon to be married to the unpleasant Lord Wessex. Naturally, Viola becomes Will’s muse, and they embark on a passionate and arduous love affair, his marriage in Stratford “long dead and buried.” Viola also is so desperate to be onstage she frequently will disguise herself as a man, despite the law making it illegal and forbidden to have women on stage. And, in typical Shakespeare fashion, their tale is intertwined with that of another well-known star-crossed couple. There’s sword fighting, a dog named Spot, dances, complications, punny
groaners, recurring jokes and double entendres. There’s an original musical score by Neil Bartram that’s Elizabethan in nature, containing Shakespeare text with lovely vocals. And, better still, all the mythology and scandal involving Christopher Marlowe is interwoven throughout the play. The 20-actor ensemble excels and is to be savored. All of Shakespeare’s friends, rivals and kindred spirits are present in this production. Nick Rehberger is a handsome, articulate, comedic Will and is well matched with the desirous of poetry, adventure and ungovernable love Kate McGonigle, who plays Viola. Popular Chicago actor Larry Yando is the beleaguered Rose theater owner Henslowe, and Timothy D. Stickney is his rival, the infamous important Burbage. Both are delightfully commanding in their scenes Yando gets to deliver the best summary of theater and plays ever written: “With insurmountable obstacles on the road to imminent disaster, it always works out in the end, and I don’t know how – it’s a mystery.” Ron E. Rains is Fennyman, the “shut it” money man who transforms from “theater is profit” to a respecter of the craft of acting. Dash the dog is Spot, a scene stealer to be sure, but very necessary to the plot. Catherine Smitko is the loyal nurse who aids Viola in her dreams and schemes. Michael Perez is a
5
Viola de Lesseps (Kate McGonigle) and Will Shakespeare (Nick Rehberger) find their perfect match in “Shakespeare in Love.” Photo provided courtesy of Liz Lauren
wonderful Marlowe (the balcony scene where he is mentor to Will’s wooing is wonderful). And Dennis Grimes is the very unlikeable,unpleasant, cuckolded Lord Wessex. But I do have my favorites. Scott Danielson only is in a few scenes, but his character, Wabash, is teddy-bear lovable and makes a sweet transition I won’t spoil by telling. Linda Reiter, every inch Queen Elizabeth I in demeanor, voice and posture, dominates her brief scenes. She may be acidi, but she is knowledgeable and merciful: “I think I know something about a woman in a man’s profession.” And the swashbuckling leading actor of the times, aka “The Prince of the Provinces,” Ned Alleyn magnificently is played by Luigi Sottile. The action all takes place on a revolving timbered set designed by Scott Davis, who depicts Elizabethan England in all its taverns, palace rooms, bedchambers, theaters and the requisite balcony. There’s even a rowing boat. The set is lit by candles and chandeliers and decorated with tapestries, curtains and minimal set pieces. Susan Mickey’s costumes are sumptious Elizabethanperiod gowns, capes, boots and bustles, only eclipsed by the appearance of Queen Elizabeth’s royal gown stunners (I’d like to see that costume budget!).
One of the most touching and wistful scenes is the final tomb scene of Romeo and Juliet (yes, the title and plot get changed), enacted by Viola and Will in a rescue attempt at Burbage’s Theater. The lines are prophetic. Viola’s future lies with Lord Wessex and sailing to the New World of Virginia. Viola can not and will not run away with Will: “Your words will be immortal, and I cannot be the woman who denies the world your words.” Inevitably, there will be comparison to the film. Both are pieces of historical fiction, but the play is more of a love letter to the theater and continuation of the arts, while the film focuses more on the love story. True, many of the best lines come directly from the film, but the play stands strongly on its own. The Chicago Shakespeare production is extremely well cast and acted. It’s more detailed, more crisp and more electric with actors who, in my opinion, far outshine the film’s cast.
• Regina Belt-Daniels is a working actress and director who began her career onstage in 1985 at the Woodstock Opera House. Currently serving on the Raue Center for the Arts Board, she also is a lifetime member of TownSquare Players and a retired District 47 teacher.
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| Pl@y | Thursday, May 4, 2017 • NWHerald.com
‘Shakespeare in Love’ a love letter to the theater