Displaying items by tag: Edward Hall

It’s the top of Act IV, and King Harry (Elijah Jones) stands alone on stage. The lights are dim – save for a spotlight, leaving the surrounding empty benches in shadow. His soldiers have all exited, each more excited than the one before him as they run off to battle against the French. Harry is left with nothing but his thoughts. With a long, deep breath, he takes a moment to pray. As he kneels down in the darkness, he whispers:

“O God of battles! steel my soldiers' hearts;
Possess them not with fear; take from them now
The sense of reckoning, if the opposed numbers
Pluck their hearts from them.”

 Up until this point, we have witnessed countless speeches from Harry. At every turn, he is ready to inspire his soldiers – his friends as he calls them, preparing them with the hope they require to go fight on his behalf. However, in this moment, we see something different. As Jones stands alone, we see a new physicality take form – one filled with vulnerability and fear. You might find that in this moment, like for me, the story shifts. Harry has carried an impressive, heroic air throughout. However, in this scene, he finally feels human. The language felt so heightened but suddenly, there’s something a little more relatable. He finally has something to lose. If you’re anything like myself, you might feel yourself leaning in - almost worried to see what danger befalls him with what is to come.

Directed by Artistic Director Edward Hall, William Shakespeare’s history play follows King Henry V, or Harry, (Elijah Jones), as he leads his army to invade France. Full of some of Shakespeare’s most famous speeches, the play explores what makes a king, as well as what obstacles might stand in the way – even if they are brought on by the individual himself. Hall’s talented ensemble brings this theme to life as we watch them bond and grow over the course of the story. In contrast to France, Harry’s army is meant to have everything standing against them – from experience to literal numbers. However, Harry’s ability to inspire carves a path forward, and we see how a natural gift like language can help a king survive.

As much as Shakespeare’s play can be one of hope, there is also a darker side as we see the ramifications of the seduction of war – one that Hall and Music Director Jon Trenchard cleverly highlight through live music.  

The play itself carries a highly serious tone. The lighting overall is quite dark, with a muted set as we settle into England’s army base (filled with impressive detail from Scenic Designer Michael Pavelka that consumes Chicago Shakespeare’s Yard Theater). Sound Designer Emily Hayman does not hold back with the war scenes – successfully immersing the audience in the fear surrounding the soldiers on stage. Particularly with the heightened language of Shakespeare’s text, the production feels as if it will be clouded in death and all that comes with it.

Then, in a key moment, the notes of The Clash’s “London Calling” starts to play. The musicians on stage come forward as Lighting Designer Marcus Doshi fills the stage with flashes of pink and red. The soldiers – all quite solemn to this point, begin to jump and dance as they yell the lyrics with the musicians. The vibe quickly shifts to one of a rock concert. Looking around at the guests surrounding me for this Opening Night performance, it was clear the audience was just as excited – especially as they danced along in their seats. This was only the first of many musical interludes, and each was met with more excitement than the last.

Henry V can be quite heavy. The story of a young king forced to grow up too quickly as he rounds up his soldiers to fight on his behalf is not easy. While poetic, Shakespeare’s series of extended monologues could make this history a tougher one for folks who are less used to his work. However, with the incorporation of the music and tonal shifts, Hall and his team do their part to ease in the audience. You might find that breaking up the text in this way allows you to catch your breath, recalibrate, and prepare yourself for the next stage of the journey.

Impeccable design and cleverly crafted, Henry V makes for an accessible entry point to Shakespeare’s histories. Hall is still new to his position, but he is certainly one to keep an eye out for.

Henry V runs through October 6 at Chicago Shakespeare Theater – 800 E Grand Avenue. Check out Chicago Shakespeare Theater’s website for tickets and information. 

RECOMMENDED

I first read JRR Tolkien’s trilogy, The Lord of the Rings, when I was eleven; since then I have reread the entire story almost every year. My birthday is September 22, same as Bilbo and Frodo. The quote [NOT that of the One Ring!] tattooed on my arm is in Sindarin, the Elvish language. I travelled to New Zealand on an LotR tour and later lived in NZ for 2 years. So, understand that I’m not just a fan of, but fanatical about The Lord of the Rings. Believe me when I say I most definitely know Tolkien’s type.  

In 1999 when the first of the three movies came out, I was terrified, as I’ve never seen a movie based on a book I loved that was not totally calamitous. But Peter Jackson is a god, and he did as wonderful an adaptation as humanly possible (though I’ll never forgive him for Faramir).

So, when I first learned that the Chicago Shakespeare Theater was producing Lord of the Rings onstage, I immediately put in a request to review it for Buzz Center Stage. As the event drew closer, however, I started getting anxious: LotR a musical?! But my misgivings lightened as, about ten minutes before the production began, costumed characters started larking about together onstage and off-. And the opening song, ‘The Road Goes On’, melted my doubts (as well as my heart) altogether: it was beautiful, and so right!

From the start it was clear there were two distinct groups in the sold-out house: those who were LotR fans (though I daresay few as monomaniacal as myself), and those who were meeting hobbits, elves, and wizards for the first time. My companion was of the latter group – he knew the basics of the story but had no true familiarity with it – so exploring his views made an interesting counterpoint with my own.

The cast and company were enormous; forgive me if I don’t praise everyone individually but only comment on the standouts.

Only the expertise and artistry of Directors Edward Hall and Kimberly Motes could produce such a monumental show. I’ll always see Aragon as quintessentially Viggo Mortensen, but Bob Mason’s casting was spot on: Will James Jr. fully engaged me in the role. Sir Ian McKellan is a tough act to follow, but Tom Amandes’ Gandalf was magnificent. The Hobbits – Eileen Doan as Merry, Ben Mathew as Pippin, Michael Kurowski as heroic Sam Gamgee, and Rick Hall as Bilbo – were all sensational – though I wish we’d heard more from them and gotten to know them better. Frodo’s is a very complex character, from the lighthearted Frodo of Bag End to the tormented Frodo on Mount Doom; a challenge for any actor. Elijah Wood nailed it of course, and so amazingly did Spencer Davis Milford. [It’s true Spencer isn’t (quite) as cute as Elijah, but then few folks are.]

The highest kudos I must reserve for Tony Bozzuto, whose portrayal of Gollum was phenomenal. Bozzuto accomplished the physical gymnastics of that kinetic creature and faultlessly enacted the contradictory mindset of that haunted, driven … what? not a person, more a wraith or an apparition, and a groveling vassal of the unholy trinity: the Ring, the Dark Lord, and Frodo Baggins, simultaneously and irreconcilably. Poor Gollum! Bozzuto managed to incite in me both Sam’s cynical aversion and Frodo’s compassionate empathy. He owned the stage whenever he appeared.

Justin Albinder (Legolas), Ian Maryfield (Gimli), and Matthew C Yee (Boromir) completed the Fellowship of the Ring, appointed by Jeff Parker as Elrond (and later pursued by Parker as Saruman). Unfortunately, we never got a chance to know any of them, aside from a few quips (“Never trust an Elf!”)

LotR is no chick flick; it’s totally a bloke’s story, but the sensual Arwen (Alina Taber) injected a bit of estrogen. I was disappointed at Galadriel: Lauren Zakrin played the terrifyingly beautiful elven queen, but the sound / mic system (Chicago Sound Designer Nicholas Pope) failed to capture the full range of Zakrin ‘s lovely soprano voice.  

Spencer Davis Milford as Frodo and Lauren Zakrin as Galadriel in Chicago Shakespeare’s US premiere of The Lord of the Rings – A Musical Tale, based on J.R.R. Tolkien’s beloved trilogy of books.

The most awesome scene in the movie Fellowship of the Ring is when Gandalf defies the Balrog, and by far the most wrenching scene is the desolation of the Fellowship, most especially Frodo, when Gandalf falls. This production gave us none of that. We barely hear Gandalf’s final gasp of “Fly, you fools!”. Then, when the Fellowship reconvenes afterwards, there is no reaction from the characters. Aragorn rather reminded me of the monitor on a primary school trip: “Everyone get to the bathroom? All here? Ok, let’s go”.

It was necessary, of course, to cut a great deal of material to bring the production in at three hours. One thing they cut was Book Two, The Two Towers. There’s no mention of Rohan at all, only nominal lines from Treebeard (voice by John Lithgow). They don’t go to Minas Tirith, no acknowledgement of (let alone depiction of a battle) Helm’s Deep. I don’t mind skipping Tom Bombadil, I never much liked him any road, but why on earth does Gandalf mention him at the end? Those unfamiliar with the books were left thinking ‘Huh? Tom Bombadil? Who dat?’

Scenic and Props Designer Simon Kenny, working with David Castellanos’ Stage Management crew, had a monumental task enacting the myriad venues and tableaus the characters move through, from the buoyant gaiety of the Shire, through the mystical glory of Lothlorien, to the malevolent horror of Mordor, with all number of epic battles generously interspersed. These phantasmagorias were enhanced by Light Designer Rory Beaton (albeit with a couple of glitches). Many of Kenny’s costumes were superb – the Black Riders in particular were truly terrifying – but not so much with the monsters, Balrog et al. And I’m not sure about Galadriel’s outfit; I kept losing track of the action in speculating whether it was a dress or a catsuit.

Oh! The Music! … yeah, that’s right; this is a musical. Book and lyrics were written by Shaun McKenna and Matthew Warchus, and the music composed by AR Rahman, Värttinä, and Christopher Nightingale. Each composer’s background and style was evident within the whole.

Christopher Nightingale is a prolific composer, orchestrator, director, and conductor, celebrated in the UK as well as the US. AR Rahman is said to have ‘redefined contemporary Indian music’. His music has been brought to national attention by multiple Academy Awards, Grammys, a Golden Globe and a BAFTA, and he brought his Eastern imprint to bear on the music of THE LORD OF THE RINGS. Värttinä is a contemporary Finnish group with a folk music/roots-based style, using multiple vocals and instrumentalists to combine traditional Finno-Ugric elements with traditional and original compositions.

I can’t pinpoint which portion of which songs derived from which composer, but it’s my private opinion that Värttinä’s folkloric imprint was what brought special charisma and bewitchment to my favorite compositions in THE LORD OF THE RINGS. For example, the introductory The Road Goes On and both enactments of Song of the Traveller were exquisite. And in Act 2, Now and for Always was resplendent, coupling Sam’s poignant lines with Gollum’s piteous voice.

Other numbers, unfortunately, did not rise to this level. Some I must describe as saccharine and others vapid: trite, repetitive, and/or simply too damn long. The production could benefit from using some of that unproductive time by deepening other portions of the show.

The Finale was, in a word, jarring. The message throughout Act II is that, after such frightful trials and momentous events, however triumphant, life simply cannot “go back to normal”. Yet Finale seems to be attempting to bring the story full circle, returning to the celebratory ambience of the Birthday Party in the Shire. A song that combined consolation with hope would, to my mind, be more harmonious with the canon.

[Sorry, can’t help it; I’m a hopeless LotR nerd! Geek]

Jeff Parker as Elrond and Spencer Davis Milford as Frodo, at center, with Will James Jr. as Aragorn, Ian Maryfield as Gimli, Eileen Doan as Merry, Michael Kurowski as Sam, Alina Jenine Taber as Arwen, Ben Mathew as Pippin, Tom Amandes as Gandalf, Justin Albinder as Legolas, and Matthew C. Yee as Boromir.

The acting was universally excellent, from the pivotal roles of Frodo, Gandalf and Gollum to those of Rosie Cotton (Suzanne Hannau) and the Ensemble: Joey Faggion, Mia Hilt, James Mueller, Jarais Musgrove, Hannah Novak, Adam Qutaishat, Laura Savage, Bernadette Santos Schwegel, and Arik Vega. Amandes was absolutely magnificent in Gandalf’s confrontation of the Balrog at the Bridge of Khazad-dúm. James’ Aragorn was regally magnetic; he brought Aragorn’s character deftly and smoothly from the rude Ranger of the North to the august High King of Gondor.

Frodo … Frodo Frodo Frodo. One of my favorite characteristics of Frodo is that of a reluctant hero – a small and insignificant person who finds himself a hero by simply doing what must be done. Milford’s acting was compelling and poignant, capturing this subtle but crucial quality. And I’ve already spoken of Bozzuto’s brilliance as Gollum.  These two actors delivered Tony-level performances.

The choreography and movement, directed by Anjali Mehra, with Fight Captains Ian Maryfield and dance captain Laura Savage, were less impressive. Again, the opening scene and song was very well done, but that good first impression was not sustained. In several scenes the ‘dancing’ consisted of merely keeping the bodies in motion with no rationale or allure, particularly with the orcs. Granted, orcs possess negligible symmetry, not to mention allure. However, the Nazgul’s maneuvers and actions in the early scenes [Flight to the Ford] were quite effective in communicating menace. [NOTE: A Maori haka* illustrates how eloquently movements can convey threat.] The center turntable was helpful in some scenes, but it doesn’t work to simply send the actors in circles as they make duplicative gestures.

The fight scenes were augmented by Beaton’s light shows, though they must be carefully coordinated to enhance without obscuring – a couple of poorly-timed light effects left the principals in the dark. And the special effects were not very special: once the Nazgul lost their horses we never saw them again (though the shriek was very well done). The Balrog … meh. And worst of all was at Mount Doom; we saw no trace of the Ring, and the explosion was decidedly anticlimactic.

The most important omission was the emotion. I mentioned the absence of grief at Gandalf’s fall, but the more important exclusions were in defining the characters and their interpersonal relationships. Sam’s love and devotion to Frodo was barely hinted at, though this relationship is of paramount importance from the beginning, in his insistence on accompanying his Master, to the end, where he is essential to Frodo’s ability to complete his Quest. Instead, it’s simply puzzling when Sam volunteers to carry the Ring. Nor do we see Frodo’s gradually falling under the Ring’s enchantment, so the climactic scene where he declares he will keep It became a ‘where’d that come from?’ moment. Similarly, we have no clue that Boromir is coming under the Ring’s spell until suddenly, at an inappropriately hectic moment, he makes a grab for it.

I could go on and on – but don’t panic, I won’t. Suffice to say that THE LORD OF THE RINGS - a Musical Tale has hobbits and elves, wizards and dwarves in the cast, but the story isn’t about them. The characters and their stories get lost, becoming merely a placeholder between songs, many of them with minimal relevance to the action (and variable quality).

In summary: I simply can’t evaluate THE LORD OF THE RINGS - a Musical Tale objectively. I’m not merely familiar with Tolkien’s work, I’ve spent countless hours immersed in it. I’m not simply knowledgeable about Middle Earth, I’ve lived there. And in this venue, I won’t elaborate on just how intimately acquainted I’ve been with the characters, as well as with the actors whom Peter Jackson selected to portray them. My companion, unfamiliar with the Trilogy, was enraptured by most of THE LORD OF THE RINGS - a Musical Tale.  For myself, I was too knowledgeable about (and I daresay too emotionally invested in) Tolkien’s stories to simply enjoy the show.

So, I’m telling you that, on the heavily-weighted scale of my judgment, THE LORD OF THE RINGS - a Musical Tale failed to tip the balance. However, I still RECOMMEND the program. So long as you’re not a total Tolkienophile, obsessed with the Canon and unable to tolerate even minor infringements, you will enjoy THE LORD OF THE RINGS - a Musical Tale. 

Recommended!

* The haka is a ritual dance that Maori warriors perform when commencing a fight. The New Zealand Rugby team, theAllBlacks, performs a haka on the field before each match.

Crowds will flock to see “Judgment Day,” having its world premiere at Chicago Shakespeare Theater on Navy Pier. While many will be drawn by its star, Emmy and Tony-winning actor Jason Alexander of “Seinfeld” fame (George Costanza), and he is definitely a draw—but just one of many—in this remarkably funny, highly polished play by Rob Ulin.

With perfect comedic delivery, Alexander plays Sammy Campo, a craven lawyer who has gained riches continuously by winning cases at any cost, ethics be damned. From the moment Alexander begins his audacious performance, fueled by the razor wit of Ulin’s smart script, the audience was laughing and we knew, this is a comedy.

Yet “Judgment Day” treats serious subjects, a truly thoughtful discernment of weighty values and living a purposeful life. We hear throughout the play an important conversation going on, the laughter taking down barriers to really listening. This is a morality play, and a good one, in the mold of Moliere blending serious matters with fun. Sammy goes through a spiritual journey, not so different than Dicken's Ebenezer Scrooge. But "Judgment Day" has the added power of swimming in contemporary mores and values.

Jason Alexander stars as a corrupt lawyer attempting to make amends with the help of a conflicted priest, played by Daniel Breaker, in the world premiere comedy Judgment Day at Chicago Shakespeare Theater. 

Sammy may soon be disbarred—for seedy practices such as suborning perjury from witnesses. As his secretary Della (Olivia D. Dawson is marvelous) delivers a world-weary litany of the sketchy legal methods for which Sammy may lose his law license, her droll deadpan is interrupted repeatedly by Sammy’s frantic interjections, after each of which she resumes undeterred, eliciting big laughs.

Della lets us know Sammy once convinced a client to saw off his own leg to win a claim. “It almost worked,” says Sammy, revealing his breathtaking depravity and lack of moral compass with such complete unselfconsciousness the only response we can have is to laugh. It’s clear that Della has seen it all, and knows Sammy’s MO only too well.

Working from Golden Globe winner Ulin’s extremely witty script, Tony-nominated director Moritz von Stuelpnagel coaxes split second timing from Della and Sammy, establishing the standard of interplay among actors that we will enjoy all evening. Without spoiling the fun, let’s just say Sonny passes out and falls to the floor.
“You dead?” Stella queries. And we laugh.

Not quite dead, it turns out, and following the ensuing near death experiences, the recovered Sammy decides to straighten up his life. But he hasn’t changed one iota. Always calculating, he goes to confession and meets Father Michael (Daniel Breaker is superb), putting it to him baldly: “What’s the least amount of good I can do to avoid going to hell?”

Father Michael, a conflicted priest in a crisis of faith, is the perfect pairing with Sammy, and much of the rest of the play is the two jousting abouty moral values, and whether good works for selfish reasons merits a heavenly reward. The heavy intellectual lifting falls to Father Michael, as he guides Sammy in his moral quest. (Breaker played Aron Burr in "Hamilton" and originated the role of "Donkey" in Skrek the Musical.) A lengthy scene puts the two together in a car during a stakeout. Bantering about issues personal and moral, Father Michael's inner struggle is revealed. The scene would have been at home on "Seinfeld," except unlike the series famed for being "about nothing," this one is about something. 

As we get to know Father Michael—and for that matter the rest of the cast including the wife Sammy walked out on (Tracy Bofill) and his young son (Ellis Myers); Angel (Candy Buckley) Sammy’s deceased teacher (now in wings and a habit); a struggling widow Edna (Meg Thalken); Father Michael’s superior (Michael Kostroff as Monsignor); even the Principal (also played by Dawson)—each of these characters are so intriguing I wanted to see more of them, perhaps in another setting (spin-off shows?).

Notably, most of the cast and creative team make their Chicago Shakespeare Theater debuts in this show, many cast from New York. Chicago is a good setting for testing out this play, which like the city is very Catholic (no less than three scenes are in confessionals) but this is neither off-putting nor irreverent. In fact, it's a study in the transformation of the Catholic Church since the 1960s, beautifully expressed. And tt's another home run for CST's new artistic director, Edward Hall. 

Presented in The Yard, Chicago Shakespeare’s newest, state-of-the art space, the stage itself allows large audiences to have an intimate theater experience. Scene changes (Beowolf Boritt does scenic design) whisk in and out as fast as camera cuts in the movies.The adaptable Yard, which can when needed replicate the courtyard stage of Shakespeare’s Globe, here simulates a proscenium space, with upstage and downstage, stage left and right all part of the action. This gives an immediacy and presence to the performance for the audience that surpasses anything I have seen in New York, London, or elsewhere in Chicago. You are drawn into the show, and the experience is captivating.

Suffice it to say, “Judgment Day” comes highly recommended: an excellent play, performed and directed beautifully, and a story that will stay with you. “Judgment Day” runs through May 26, 2024 at Chicago Shakespeare Theater.

*Extended through June 2nd