Displaying items by tag: Chicago Shakespeare Theater
Announcing FAULT, an exciting addition to the Chicago Shakespeare Theater 2025/2026 Season
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Chicago Shakespeare Theater announces cast and creative team for The Merry Wives of Windsor
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Shakespeare Is in Love Again in 'Hamnet' at Chicago Shakespeare Theater
“Hamnet,” a stage play adapted by Lolita Chakrabati (known for Life of PI and Red Velvet), and directed by Erica Whyman is in its U.S. debut at Chicago Shakespeare Theater on Navy Pier. This production originated and performed by the Royal Shakespeare Company for its U.S. tour, has generated a lot of excitement, heightened further by the many Oscar nominations for a film by the same title, though it is a very different adaptation of the same book.
Both were drawn from Maggie O’Farrell’s best-selling novel “Hamnet: A Novel of the Plague” speculating on the life of William Shakespeare and his wife and family. The story line delves into the family life of the couple, the first act devoted to William and Agne’s birth families and their love affair and eventual marriage.
The second half revolves around their children, and traces Shakespeare’s ascendancy into the upper echelons of English theater. He draws the attention of the queen, is celebrated on the stage in London for his prolific stage works and his published poetry.
We meet actors Burbage and Kempe. Bert Seymour and Nigel Barrett, who play other roles too, are excellent as the real historic actors who were the definitive contemporary interpreters of Shakespeare’s scripts on stage. (Chicagoans who saw “The Book of Will" had a thorough introduction in that rendering of the development of the First Folio in the years following Shakespeare’s death.)
At “Hamnet” on Navy Pier, though, there are a few problems with the production that detract from the interesting story. Like “Shakespeare in Love,” which generated a fictional hypothesis about a love affair that inspired the Bard to pen “Romeo and Juliet,” in “Hamnet” it is the death of Shakespeare’s son, Hamnet, that is posited to have fed the emotional plane of “Hamlet.” And that is an intriguing theory, drawn from the book.
Saffron Dey as Judith and Ajani Cabey as Hamnet
“Hamnet” dutifully recounts the marriage of Agnes (she is generally known to us as Anne but historically she was Agnes) and William, she 26 and pregnant, and he just 18. The first child Susanna (Ave Hinds-Jones) was born a few months later, and a few years hence twins—Judith (Saffron Day) and Hamnet (Ajani Cabey)— sprang forth. Historically Hamnet died in 1596; four years later “Hamlet” hits the stage.
The book and play adjust this time frame, to have Shakespeare at work on the debut of “Hamlet” as his son contracts an illness and dies. That’s reasonable creative license, especially in the interest of drama. (Harper's Magazine offers an excellent contrast of the history as it's adapted for "Hamnet.") And the performances are quite excellent. Agnes (Kemi-Bo Jacobs) gives us an intense performance of a character devised to explain her genius husband’s attraction, and perhaps his inspiration by her. William (Rory Alexander is excellent throughout), though the script forces an unlikely maturity at just 18 as he coaches and counsels Agnes toward their marital fate.
What was jarring was the fact that all the actors wear microphones, with a uniformity of volume set by the mixing board, presumably, that is unnatural, especially for Shakespeare. The unfortunate effect was an echo chamber, in Chicago Shakespeare's handsome The Yard which simulates the interior of the original Globe. Also two screens at either side of the stage provided subtitles, which are quickly explained by the diversity of English dialects used by the actors. Some would be unintelligible to American ears without them—but I found myself reading, at the expense of watching the action center stage. Perhaps supratitles as used in opera would have been better.
And it’s probably necessary to comment on the incidental and transitional music, composed by Oğuz Kaplangi. Some pieces were quite lovely, evocations of the late 16th century. But fast-paced scene change music, sometimes with a Latin beat, was overbearing, and the percussion especially excessive. Was it compensating for the slow pace of what was on stage?
And for a play about Shakespeare, why did we hear so little from the subject's original work? The excellence of “Shakespeare in Love” was the celebration and display of many slices from his actual writing that advanced the case for its explanation of the origins of “Romeo & Juliet.” In this Royal Shakespeare company’s “Hamnet,” we’re given just a tiny bit at the end, as Agnes witnesses the play for the first time, a scene meant to tie up and resolve all the loose ends. They loved this in London’s West End, but in Chicago it's just not enough. See if you agree. “Hamnet” runs through March 8 at Chicago Shakespeare Theater on Navy Pier.
This review is proudly shared with our friends at www.TheatreInChicago.com.
Chicago Shakespeare Theater welcomed 600 students for a free performance by Sir Ian McKellen One Knight Only!
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Royal Shakespeare Company's HAMNET - Chicago Shakespeare Theatre - Through March 8th 2026
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Review: Chicago Shakespeare Theater's Much Ado About Nothing
"The course of true love never did run smooth." No, wait, that’s from A Midsummer Night's Dream
"I do desire we may be better strangers." Mmmm … closer, but this one’s As You Like It
" Many a good hanging prevents a bad marriage". A worthy sentiment, but it appeared in Twelfth Night, not …
“Thou and I are too wise to woo peaceably.” Aha! There we go … Benedick says this to Beatrice during one of their incessant arguments in MUCH ADO ABOUT NOTHING. And if you don’t believe me, you can hear it yourself at Chicago Shakespeare Theater – and I very highly recommend you do just that! And don’t dawdle – when I was there last Sunday it was sold out.
A quick-and-dirty rundown of the story: the beautiful Hero (Mi Kang) has just fallen ass-over-teakettle in love with the courageous young soldier Claudio (Samuel B. Jackson), who reciprocates immediately and enthusiastically. Accompanying Claudio is his senior military officer, Hero’s father Don Pedro (Debo Balogun); also aristocratic soldier and avowed bachelor Benedick (Mark Bedard). Benedick is an Old Family Friend who’s maintained a long-standing verbal battle with Hero’s shrewish [get it? shrewish? nod, nod, wink, wink] cousin Beatrice (Deborah Hay). There’s no questioning the authenticity of their dissension, but from the outset we sense the infatuation lurking just under their squabbles and know that this will be mined for all its chucklesome gold. After all, the most perennial subject of comedy is love, as the Bard knew very well.
Tom Piper does a fabulous job with the set, creating an ethereal fantasy world in the beautiful courtyard of nobleman Leonato (Kevin Gudahl). Lavish garlands festoon balconies and arches, defining the ambience without distracting from the action. A tree stands prominently at stage left and comes into frequent use; there’s even a swing! Several characters have occasion to hide behind its trunk and even up in its branches (clearly a very sturdy piece, that tree). Piper’s choice to design costumes in contemporary style provides another discordance to mirror the ever-present yet ever-changing infighting among the characters.
British actress Selina Cadell directs, exhibiting her long experience with and conspicuous mastery of both Shakespeare and comedy. The story is told cleanly; the pacing is perfect and miraculously the cast has thoroughly conquered iambic pentameter – though a screen displayed open captioning I didn’t need it – every line is intelligible.
The characters interact with the audience throughout. Realism is interchanged with physical comedy, as when Hay ‘hides’ within the audience by shielding her face with a program (and helping herself to her seat-neighbor’s drink!), and Bedard vows ‘I will live a bachelor’ to a member of the audience, shaking his hand on it. Though this physical contact with the characters was limited to the fortunate attenders in front-row seats, the cast regularly invited collusion from the audience as a whole. At one point they convince the audience is to join them in singing ‘hey, nonny’ and there were amazingly few holdouts. I almost never sing along but I did this time!
Bob Mason built a remarkably diverse cast. Between Debo Balogun as Don Pedro, Samuel B. Jackson playing Claudio and Jaylon Muchison taking several comic roles, this production is an excellent showcase for the Black male actors in Chicago.
Traditionally Shakespeare’s romantic dyads are played by blooming fledgling players –cute kids. Mason choosing fully grown Bedard and Hay as Beatrice and Benedick deepens everyone’s experience. It’s unfair to ask adolescents – kids! – no matter how talented, to develop characters as complex as Hamlet, and inexperienced comediennes fall too easily into Three Stooges-ish slapstick.
It requires a woman well past menarche to fathom Beatrice’s temperament. She’s not so much choosing between different men as she is wondering aloud whether she needs a man at all. She pretty much decides ‘not’, a decision that the majority of modern women can at least understand, if not agree with. A woman must have traversed the estrogen-saturated third and fourth decades of life before she can begin to discern what an equal relationship is, let alone how to construct one. Beatrice trusts that Benedick will help ease her pain, but it takes a terrific actor to convince the audience to trust him. Benedick in turn must check his Italianate machismo at the door and demonstrate his own vulnerability, not only to Beatrice but to a house full of cynical, overeducated twenty-first century women. Luckily these two actors are exceptionally skilled.
Act Two is markedly darker: Don Pedro’s illegitimate brother Don John (Erik Hellman) is a fellow with an axe to grind. Why? Maybe because he’s illegitimate, a motive as common as it is irrational; any road, his motives are unimportant to the basic story. Suffice to say he has it in for his legit sibling and maliciously chooses to attack him through young Hero. He plots with Borachio (Yona Moises Olivares) and Conrade (Colin Huerta) to disseminate a false story that Hero has been unfaithful to her fiancé Claudio, who’s unfortunately a gullible twit and falls for these unsubstantiated rumors.
Fortunately, Hero’s suffering is (at least partially) balanced by the clodhopping Dogberry dropping one hilarious malapropism after another. I always have one favorite character (yeah, I’m a bad mom) and in this piece my pick of the litter is Dogberry, particularly as so wonderfully played by Sean Fortunato. Fortunato’s long face and longer body seem custom-designed for the rollicking physical comedy of this wonderful role (though actually he has a phenomenal range). Dogberry’s performance was enhanced by the antics of his constable Verges (Jaylon Muchison), who literally and hilariously dogs Dogberry’s footsteps, resulting in several collisions.
We all know a Dogberry – the nincompoop who sucks up with highfalutin’ speeches that lavishly display he has no clue what the hell he’s talking about. I can’t resist including a quote (no spoiler, promise!) from Dogberry’s account to his boss: “Marry, sir, they have committed false report; moreover, they have spoken untruths; secondarily, they are slanders; sixth and lastly, they have belied a lady; thirdly, they have verified unjust things; and, to conclude, they are lying knaves.” You have to pay attention though, as many of his drollest maxims are far briefer.
Unexpected but welcome was original music composed by Eliza Thompson, with cast members playing accordion, saxophone, drum, flute, banjo, and guitar. Sound designer Nicholas Pope used excerpts of Thompson’s score to indicate the passage of time between scenes, with lighting refinements imbued with the prevailing comedic zeitgeist – though how one makes lighting funny is a mystery to me. Fortunately, light designer Jason Lynch knows how.
MUCH ADO ABOUT NOTHING is the original romcom and this production channels the spirit of the classic 1940s romantic comedies. Rosalind Russell / Cary Grant and Katharine Hepburn / Spencer Tracy stem from Beatrice and Benedict as directly as the Sharks and the Jets are drawn from the Capulets and Montagues. The characters and their adventures are, after all, timeless. With uncanny prescience MUCH ADO ABOUT NOTHING examines major twenty-first century courtship issues: the disproportionate consequences for women, differentiating between humor and ardor, finding balance in inherently unbalanced relationships, even cyber-bullying! I’m not a Shakespeare scholar but I’m willing to bet the man never so much as sent a text message.
MUCH ADO ABOUT NOTHING is arguably Shakespeare’s best comedy, and Chicago Shakespeare Theatre delivers just that, secured by the warmth, maturity and phenomenal talent of the cast. It’s good solid unadulterated Shakespeare and, though the physical comedy is uproarious, the shenanigans never overshadow the linguistic magnetism. This production of MUCH ADO ABOUT NOTHING is totally irresistible!
VERY HIGHLY RECOMMENDED
Running until December 11 at Chicago Shakespeare Theater 800 East Grand Avenue Chicago
Chicago Shakespeare Theater Terrifies and Astounds with Paranormal Activity
Lou (Cher Álvarez) and James (Patrick Heusinger) are in their bedroom. They are so focused on each other that they don’t notice the flashing light in the bedroom down the hall. The catch? Lou and James are the only ones in the house. So that leaves the question – who is controlling the flashing lights?
Many of us are familiar with this moment in a horror film. The first scare is crucial and sets us up for what we are about to experience. We may not know exactly what is happening, but we do know that this simple game with the lights suggests that all is not quite normal in this house. Lou and James are not alone, and whether or not we are ready, we are soon going to learn what is keeping them company.
However, this is not a film. This is a horror play, and while the moment provides a similar purpose, you might find that the experience is quite different. Gasps could be heard across the house at this particular performance. Looking around, folks were pointing to fellow audience members – making sure that they too took in the flashing lights. Whispers could be heard, and suddenly, it felt like we were part of the performance. As the scares grew over the course of the piece, reactions only intensified. Audience members shouted, screamed, and even at times tried to warn the characters of what they were clearly missing. Director Felix Barrett and his design team skillfully create what might feel like an immersive experience. As the tension on stage grew, I personally could feel the same happening to the audience surrounding me. To put it simply – we were hooked, and there was no escape until we finally got our answers.
Writing by Levi Holloway, Paranormal Activity follows married couple James and Lou who move from Chicago to London to escape their dark past. We slowly learn that their previous home was haunted, and they assumed that a full ocean could make that go away. However, they soon discover that it’s not always a place that is haunted. Sometimes it’s people, and whether or not they are ready, it’s time to confront their past before it’s too late.
That which truly pushes the experience over the top is the work of Illusions Designer Chris Fisher – along with the collaboration of Associate Illusions Designer Daniel Weissglass and Illusions Consultant Skylar Fox. The stage magic is often hard to grasp with how authentic it feels, and you may find yourself wondering if you even believe what is in front of you – much like the characters on stage.
We witness the couple at the center slowly unravel – particularly James. As with so many horror stories, he begins as a non-believer. As the ghostly interactions become harsher and harder to avoid, we see him question everything he ever knew. Both Álvarez and Heusinger perform quite a feat. As we witness their marriage completely fall apart at the mercy of the hauntings, you might find yourself feeling sorry for the genuine relationship they so clearly set up at the beginning.
With haunting stage magic and a story that takes no prisoners, Paranormal Activity is not just a play – this is an event. Fans of the horror genre will not be disappointed. This is an experience that keeps you guessing from the moment the curtain rises to the last glimmer of light at its conclusion.
HIGHLY RECOMMENDED
Run Time: 2 hours, with intermission
Paranormal Activity runs through November 2 at Chicago Shakespeare Theater – 800 E. Grand Avenue.
Chicago Shakespeare Theater’s Rome Sweet Rome Modernizes Julius Caesar
Walking into the Courtyard Theater for Rome Sweet Rome, you might find it’s impossible not to be taken aback by the design. College Pollard’s Scenic Design astounds – particularly with the large replica Michaelangelo’s sculpture the David at the center. The catch? The statue is featured from behind, giving the audience a prime view of the David’s backside for the entire performance. Especially when combined with Lighting Designer Jesse Klug’s bright, flashing lights and Jax and Composer Jeffrey JQ Qiayum’s invitation to get up and dance to the bumping mix blasting through the speakers, space sets the audience up for two things:
- This play clearly takes place in some version of Rome.
- Nothing can quite prepare the audience for the event that they are about to experience.
The Q Brothers Collective’s Rome Sweet Rome is an adaptation of William Shakespeare’s Julius Caesar, but with quite a few twists – including a full 90s hip-hop soundtrack and fun, top-notch choreography from Tanji Harper. The production is a party from the moment the lights come up, and looking around at the audience surrounding me at this performance, it was clear everyone was ready to lean in.
Caesar (POS), the charismatic tyrant at the center, carries a strong hold over Rome. He continues to pass increasingly absurd laws out of fear of losing that control. When Caesar makes the decision to outlaw bread, a select group decides it’s time to take action. Cash (Jonathan Shaboo), Brutus (Victor Musoni), and Casca (Danielle Davis) decide to stage a coup and take him down. The question is, will they succeed? Can they bring bread back to Rome before it’s too late?
Janyce Caraballo (center) with the company of Rome Sweet Rome at Chicago Shakespeare Theater, a wild and satirical new “add-rap-tation” of Shakespeare’s Julius Caesar from Q Brothers Collective (GQ, JQ, JAX, and POS). September 23-October 19, 2025, in the Courtyard Theater.
It’s not hard to miss the political undertones beneath. A power-hungry ruler at the center who continues to grasp at power in any way he can. This theme is present in the original source material and certainly makes its way into the adaptation. We continue to see history repeating itself. Greedy rulers leave voids for those just like them to take their place – often times more paranoid than the last and grasping even harder at whatever they can.
However, the Q Brothers do their work to carry the story further into today. In a key moment when Brutus turns to the audience and instead, makes it about us. The lights in the audience come up and he pointedly asks if this is what we want. Do we want to murder him? Do we see the trends and do we want to change them? Musoni certainly builds a chemistry with the audience in this moment, and you might find it’s easy to allow the fourth wall to come down and begin to engage in the dialogue. Though a little on the nose, the message acts as a helpful reminder that these stories are more timely than ever. Perhaps we can all do with a little “on the nose” as we continue to navigate what to do next in this political climate.
Full of a pizazz and a poignant message, Rome Sweet Rome has a little something for everyone. Whether you are a die-hard Shakespeare fan or this is your first time with the material, the Q Brothers make Julius Caesar accessible, and even invite us to take a little accountability along the way.
RECOMMENDED
Rome Sweet Rome runs through October 19, 2025 at Chicago Shakespeare Theater. For tickets and information, see the Chicago Shakespeare Theater website.
*This review is also shared on https://www.theatreinchicago.com/!
42 Balloons Soaring High at Chicago Shakespeare Theater
It’s 1982 and Larry Walters approaches his lawn chair. On either side are bags and containers full of various items like Coca Cola and Miller Lite – all meant to add various levels of weight to the contraption. His girlfriend, Carol, gives him a final embrace before he takes his seat. The song “Countdown” begins, and the projections behind Larry start to shift. We see the measurements change as he goes up and up – 1,000 ft. 2,000ft. 3,000ft. 4,000 ft. Larry starts to fly, and all the ensemble surrounding him can do is look up.
42 Balloons is about a lot of things. There is love. Passion. Heartbreak. At the root, this is a story about dreams. How far are we willing to go for our dreams, and at what cost?
Written by Jack Godfrey, 42 Balloons follows Larry Walters (Charlie McCullagh) – a man with a dream to fly in 1982. With the help of his girlfriend, Carol (Evelyn Hoskins), he set out to complete an experiment – what would happen if he attached 42 balloons to a lawn chair and let it soar 16,000 feet above LA? He may have succeeded, but from the moment he lands, he and Carol would find that nothing following quite goes according to plan.
With orchestration and musical supervision by Joe Beighton, the show features a score of 1980s inspired hits that are sure to get stuck in your head for days – as one wants with any musical on the rise. Titles include “Up in the Air,” “Carol’s Soliloquy,” “The Kid and the Chair,” and “Helium.” Director Ellie Coote collaborates with Choreographer Alexandrea Sarmiento to utilize the ensemble throughout – including to help signify time passing. Sarmiento’s work in particular shines, with choreography that highlights the range of skillsets in this group of performers.
You might find that much of the heart of the story is found in the relationship between Larry and Carol – particularly as we see her fight so hard to help his dream come to fruition, even though she does not necessarily agree with it. “Something as Crazy as This” comes towards the end of Act 1. The two have somehow made this happen – they secured the funds and were able to gather all the necessary materials down to the 42 balloons. McCullagh and Hoskins astound with their vocal talents – and that alone is worth the ticket. However, more than that, you might find that the chemistry between the two actors adds a helpful layer of empathy to the story. Even if you find yourself wondering why the two go to such lengths to help this particular dream come true, it’s easy to see that the love they share is reason enough to keep things moving.
Godfrey’s piece is inspired by a true story – from the dream at the center to the challenges that followed. As you watch the events unfold, you might find yourself siding with some of the critics that pop up along the way. Many found this dream of flight to be crazy and even mocked Larry following the event. The writing does not hold back – and I personally found this journey of the storytelling to be one of the most compelling elements of the experience. Godfrey invites audiences to consider: Why are there are some dreams we accept more than others? What makes a dream “worth it”, and who gets to dictate that? Perhaps in order to earn the heartwarming payoff at the end of this musical, we as audience members have to go on a similar journey as the ensemble surrounding Larry asking themselves the same questions.
Full of heart and astounding talent, 42 Balloons is must-see. I personally am excited to see where this musical goes next.
HIGHLY RECOMMENDED
42 Balloons runs at Chicago Shakespeare Theater through June 29, 2025. See the Chicago Shakespeare Theater website for more information on tickets.
*This review is also featured on https://www.theatreinchicago.com/!
Hymn at Chicago Shakespeare Theater – A Soulful Exploration of Brotherhood
Stories that explore the emotional lives of men—especially Black men—are still far too rare on the American stage. Outside the monumental works of August Wilson, narratives that center male vulnerability, intimacy, and connection remain the exception. Lolita Chakrabarti’s Hymn, now playing at Chicago Shakespeare Theater, is a welcome and moving addition to that limited canon.
Originally written for a London audience, Hymn has been thoughtfully reworked by Chakrabarti for an American setting, shifting the story from Bristol, England to Chicago. The transition is seamless—perhaps even revelatory. Under the deft direction of Ron O.J. Parson, the play feels deeply rooted in the cultural and emotional rhythms of its new home.
At the heart of Hymn is the evolving relationship between two middle-aged Black men: Benny, played with warmth and quiet power by Chiké Johnson, and Gil, brought to life with nuance and restraint by James Vincent Meredith. The story begins with a funeral and slowly unfolds into something akin to a spiritual duet. Benny introduces the idea of “sympathetic resonance,” a musical concept describing how sound vibrations can cause another object to vibrate in harmony. It becomes a poetic metaphor for the emotional bond that grows between the two half-brothers as they become a whole.
Though the story is driven by dialogue, it's punctuated by music and movement—moments that feel less like breaks in the action and more like expressions of unspoken truths. As Benny and Gil dance, sing, and joke their way through scenes from their shared and separate pasts, their connection strengthens in ways that are more felt than seen. It’s only as the final notes settle that we fully understand what we’ve witnessed.
The production design roots the story firmly in the present while pulsing with the energy of the hip-hop era that shaped the characters. Rasean Davonte Johnson’s scenic and projection design is sleek, versatile, and evocative, transforming the minimalist set from a church to a boxing ring, a spare bedroom, and even a local eatery effortlessly. Yvonne Miranda’s costume design subtly tracks the characters’ emotional evolution, using clothing as quiet storytelling. Willow James’ sound and composition design doesn’t just support the action—it lives within it, amplifying the emotional beats with a soundscape drawn from the golden age of hip-hop and rap, pulling the audience into the same rhythm that moves the characters.
Hymn is a quiet triumph. It doesn’t shout its themes or offer easy catharsis. Instead, it hums, vibrates, and resonates—an invitation to witness male vulnerability not as spectacle, but as something sacred and human.
Highly Recommended
When: Through May 25
Where: Chicago Shakespeare Theatre 800 East Grand Avenue in Chicago.
Tickets: $52 - $95
Info: www.chicagoshakespeare.com
*This review is also featured on https://www.theatreinchicago.com/!
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