Chicago Shakespeare Company (CST) is currently presenting Shakespeare’s Pericles through December 7, 2024 in their Courtyard Theater on Navy Pier, as part of a new and to be ongoing partnership with Britain’s Royal Shakespeare Company, (RSC) returning to Chicago for the first time in 30 years. Immediately following a triumphant run at home in Stratford-Upon-Avon, directed by Tamara Harvey, this expertly crafted vision of antique mystical realism, a charmingly humorous morality play, with mythical goddesses interacting with mythical man, is the CST’s “100th international production bringing the world’s great artists to Chicago”.
Starring Zach Wyatt as the dauntless Pericles, Leah Halle as his loving wife Thaisa, Rachelle Diedericks as their virtuous daughter Marina, Christian Patterson as larger-than-life Simonides, Chukwuma Omambala as the everpresent Cleon, and Gabby Wong as the maternal wise Dionyza. Also featuring Miles Barrow, Philip Bird, Jaqueline Boatswain, Chyna-Rose Frederick, Sasha Goshal, Felix Hayes, Kel Matsena, Miriam O’Brien, Emmanuel Olusanya, and Sam Parks– each in multiple roles.
Under the Court Theater’s vastly high ceiling, thick ropes are draped and depend downward, framing the action as a series of destinations for seafarers. The scene where the imaginary boat rocks upon storm-tossed waves is riveting. These fascinating actors do so much with beautifully expressive language, remarkably timely layered- natural fabric costumes, and nuanced gestures; and the tableaux were a welcome respite from typical space-taking furniture. The stage was full of actors working their craft, spinning, turning, interacting- always graceful, their movements often imbued with undertones of shaded meanings.
Mostly blacked out by set background but visible through a horizontal break in drapery were the highly talented musicians; the original songs were ancient-sounding and trilled with siren sound. And the hairdos! The men may have worn wigs, but they were splendidly authentic; the women’s tress designs were nothing short of awe-inspiring, regally uplifted, curved and always in place.
While Pericles is a later-penned and less-known romance than the familiar bold comedies, fulsome histories and bloody tragedies whose dialogue forms the framework of classical education, the play is essentially told in linear, easy to follow adventures. It contains many of the devices for which The Bard is known; identities are switched, the dead turn up alive, virtue is its own reward despite delightful bawdy efforts at debauchery.
Furthermore, Pericles is internally consistent in theme: father-daughter relationships take center stage, a princely courtier seeking a princess’ hand is put to rigorous test, numerous governing styles are up for inspection, variously corrupt. It’s no surprise that the male-female relationships here are less than equally wrought- the play was penned in 1608! but the women portrayed are not just charming- the significant female characters are powerful, savvy, and strong-willed.
Kudos to the creative team including: Artistic Director Edward Hall and set designer Jonathan Fensom for the Greek universe; costume designer Kinnetia Isidore, for dressing the participants; lighting designer Ryan Day for spot-on spotlights; composer Claire Van Kampen, for wonderful melodies.
All photos by Johan Persson
For information and tickets to all the fine performances at Chicago Shakespeare Theater, go to www.chicagoshakes.com
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