By Rikki Lee Travolta
On its surface, William Shakespeare’s “Richard III” is the story of a power-hungry, morally corrupt would-be dictator driven by ambition and resentment. Although written between 1592 and 1594, it seems a fitting piece to reflect current events happening today.
A highly fictionalized version of the rise and fall of Richard, Duke of Gloucester, the play depicts a physically deformed fascist who murders his way to the English throne.
The real Richard III was not deformed at all, as documented by historians. He is depicted as deformed in the text to represent the interests of Queen Elizabeth I, who wanted history rewritten to paint the disgraced fallen leader as inhuman as possible.
Attempts to rewrite history are always fascinating. Think of “Richard III” as the Elizabethan equivalent of MAGA efforts to repaint the January 6 Insurrection as a tourist event. Facts, in these versions of history, are not a priority. In fact, they are often the enemy. However, “Richard III” does its rewriting of history in the form of entertainment.
Now playing at Chicago Shakespeare Theater under the direction of Edward Hall, “Richard III” stars Tony-nominated actress and Paralympic athlete Katy Sullivan in the title role. Hall keeps with the theme of gender fluidity throughout the casting of the production.
The playing field for this landmark production that has had Chicago abuzz for months in anticipation is a post-apocalyptic industrial wasteland. The stage is further awash with underlying imaging of a horrific psychiatric institution where the patients have taken over the asylum.
The ensemble spends much of their time in white doctors’ coats accentuated by masks reminiscent of those used in the “Friday the 13th” horror films. It creates anonymity for those seeking to commit bad acts.
Scaffolding frames the stage, giving the players levels to scale and a place to store the skulls of fallen enemies. This is accented with the types of privacy screens used in old-time operating rooms. This maintains the psych ward gone wrong motif.
Sometimes performing from a wheelchair, and at other times devouring the stage on prosthetic legs, Sullivan is in her element in the scintillating dramatic role. She is powerful and ruthless, as the character demands. However, she is also able to wrap the audience around her finger as she steps in and out of the action to use her considerable charisma to connect to those in attendance.
Katy Sullivan is a force of nature. Chicago Shakespeare’s “Richard III” is monumental. It is emotionally stirring and lustfully enticing – an epic of the highest quality.
Beginning with the very first scene, Richard sets the stage for his remarkable villainy. His physical deformity is indicative of his inner twisted psyche that drives him to calculate, scheme, and murder. There is seemingly no moral line Richard is unwilling to cross in his aspirations to attain power.
Over the course of the play, Richard arranges the deaths of his nephews and his brother Clarence in order to clear a path to take the throne. He further eliminates any witnesses to his crimes. It is astounding how some supporters will follow a leader so blindly, that they don’t realize they are being used and that the object of their adoration offers no allegiance back.
After making Lady Anne a widow through the murder of her husband Lancastrian Edward of Westminster, Richard woos and weds her to solidify himself as a viable contender for the crown. Arranging murders is something that comes easy for Richard; he sheds no tears while eliminating his own young nephews – just children.
Despite his physical deformities and his twisted psyche, Richard is charismatic. That is pivotal to the role. There is a charm to him as he paints his deceptions with cunning intellect. Sullivan does well in capturing this.
Eventually, of course, Richard’s political power begins to crumble and fall. As such, he is haunted by ghosts, even as he prepares for battle to desperately try to cling to power.
With the exception of Sullivan as Richard, the ensemble all take on multiple roles – stepping in and out of the spotlight. The “Richard III” cast is amazing in all capacities.
Demetrios Troy is formidable and intense as Richard’s brother King Edward in the beginning of the story. At the end, the actor portrays the Earl of Richmond who wants to take the throne back. As such, Troy bookends the production as the King that Richard seeks to dethrone, and then later the rightful heir who seeks to become King himself.
Sean Fortunato is wonderfully expressive in the dual roles of Lord Rivers, brother of Queen Elizabeth, and as Richard’s mother the Duchess of York. Scott Aiello is equally as strong as Richard’s brother George, Duke of Clarence, and then later as Lord Stanley. Jessica Dean Turner is excellent as Queen Elizabeth, as is Jaeda LaVonne as Lady Anne.
Debo Balogun and Yao Dogbe both turn in stellar performances as well. In both cases, the words of Shakespeare flow like fine wine from their mouths, intoxicating and mesmerizing the audience with the hypnotic skills of a snake charmer.
The solid ensemble also includes Erik Hellman, Libya V. Pugh, Anatasha Blakely, Mo Shipley, Mark Bedard, E.M. Davis, and Mark Bedard. As one would expect of Chicago Shakespeare, the ensemble is phenomenally gifted.
Scenic design and costumes blend together exceptionally well thanks to designs by Michael Pavelka. Lighting design is truly excellent. Marcus Doshi uses colors and isolated shapes to add extra details to the storytelling.
Sound design for “Richard III” is by Pornchanok Kanchanabanca. Music direction, arrangements, and original compositions are courtesy of Jon Trenchard. I must say, for a non-musical, the music is pretty darn good. There is even an onstage guitar player slicing some nasty licks at times to power the delivery of the story.
Casting is by Bob Mason, while the production stage manager is Jessica Forella. The assistant director is Peter Andersen and Aly Easton provides accessibility consultation. Fight choreographer is Matt Hawkins, including some interesting deaths including by chainsaw. Intimacy director is Sarah Scanlon.
On the promotional front, Hannah Kennedy serves as director of communications for the theatre, augmented by Emma Perrin who heads public relations and digital media.
“Richard III” is Edward Hall’s debut production as the new artistic director for Chicago Shakespeare Theatre. It is a wonderful example of a well-executed changing of the guard.
“Richard III” at Chicago Shakespeare Theater is a captivating exploration of unchecked ambition and the consequences of ruthlessness. Thanks to a defining interpretation by Katy Sullivan, Richard’s fabled villainy continues to resonate with audiences.
The violent drama is presented through March 3, 2024 in Chicago Shakespeare’s Courtyard Theatre. For tickets contact the Box Office at (312) 595-5600 or visit www.ChicagoShakes.com.
Photo credit: Liz Lauren
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