An Attempt to Make History Accessible

Richard III – Eclectic Full Contact Theatre

Sparked by the rise of alcoholism, family violence and political corruption, the United States entered a period of history called Prohibition. Between 1920 and 1933, a strict ban on alcoholic beverages made the production, importation and sale of liquor illegal. However, this attempt to impose healthier living and sound morals on the nation also encouraged a rise in crime and illegal activity. Bootleg booze and secret nightclubs that served liquor, called speakeasies, became popular in large cities. Criminal gangs, who controlled the underground alcoholic beverage supply, became the rulers of metropolitan areas, like Chicago. This is the background for Eclectic Full Contact Theatre’s imaginative vision for Shakespeare’s history/tragedy drama.

When the audience enters the Athenaeum’s third floor studio space, they discover that the stage has been transformed into a modest speakeasy. Thugs armed with baseball bats stand ready to take out anyone causing trouble. Following a violent free-for-all, time suddenly stops and a somber, well-dressed man stands alone, bemoaning this “winter of our discontent,” and criticizing and scorning his brother’s accession to the throne. Richard, Duke of Gloucester, sees only himself as the true and rightful King of England, not his brother Edward IV. In fact, as Richard festers inside, he’s begun plotting to insure that his rise to power will happen unimpeded by enemies, friends or family. Richard confesses that he’s “determined to prove a villain” as he schemes to have his brother Clarence, next in line for the crown, conducted to the Tower of London. But this is only the beginning of Richard’s heartless, bloody path to become the King of Chicago.

Shakespeare’s history play, thought to be written in the late 1500’s, is his second longest (after “Hamlet”). It swiftly moves through the poisonous events that propel Gloucester’s meteoric rise to power. He proves himself over and over again to be just as cruel, callous and cold-blooded as legend has painted him. Richard is a villain and there’s little remorse felt when he gets his just desserts in the final moments of this tragic and violent drama.
However, in this company’s contemporary production, directed with style, grit and humor by Natividad Uehara, Richard isn’t portrayed as the ugly hunchback of legend. This man-who-would-be-king is played with stunning valor and bravado by Eclectic’s Executive Director, Andrew Pond. The accomplished actor/director truly leads this production as the only actor in this cast capable of delivering Shakespeare’s words with authority, clarity and meaning. While Mr. Pond’s Richard III isn’t “rudely stamp’d” by a hump on his shoulder, he employs the Bard’s description as a metaphoric extension of his character. 

Richard is in total command of this story, as well as this production. He uses his unquestionable command to stop and restart the play at will, while easily maneuvering and observing his subjects. In one of the more powerful scenes in this production, that borders on frightening, Richard ensnares and confronts Lady Anne (nicely portrayed by Elise Soeder), forcing her to marry him. And in the final moments of this unique production, Richard falls from power, crying for “A horse, a horse…” and then quietly, almost introspectively, “…my kingdom for a horse.” As this evil, dethroned man lies helpless on the ground he meets his doom at the hands of the Earl of Richmond (played with vigor by Gayle Starr), who’ll soon become King Henry VII.

Natividad Uehara’s production is, unfortunately, unfocused at times. It’s filled with visuals and sounds, but the audience has to search the often crowded stage to figure out which actor has the floor. The scenes staged on the steps of the center aisle are particularly difficult to see. While Mr. Pond absolutely dominates this production, rarely offstage for very long, his supporting cast doesn’t quite match his talent. Many of the actors play multiple roles, but it’s often unclear who is whom. Some exellent performances are turned in by Meg Elliott as a firey Elizabeth, Jacquelyn Haas as Margaret and Jean Marie Koon as the Duchess of York. Other exciting performances come from Nick Dorado, as both Grey and King Edward; Cody Jolly (who should’ve been cast in a larger role), as Rivers and King Henry; and Julian Diaz’s magnificent portrayal of that proud puppet sycophant, Buckingham.

The artistic support for this production isn’t as solid and well-thought as one has come to expect from this theatre company. The concept of transferring the play to the Prohibition Era, while intriguing, doesn’t add much to the interpretation of the Bard’s bloody British history play. Ty Miles’ incidental music is enjoyably mood-setting, but his original songs, which are pointless, add nothing to the story and aren’t very well sung. An almost haphazard stage setting lacks any artistic design and purpose (except the cool symbolic red and white rose paintings on the wall) and often blocks the audience’s view of some characters. Visibility is further hampered by Rachel Lake’s shadowy lighting. The costumes by Kaeley Osterman are also hit-and-miss. The men fare much better, particularly Mr. Pond’s well-tailored three-piece pinstripe suit. But there are some strange choices for the women, particularly Lady Anne. And while sleeve garters might’ve seemed like a good idea for the men, lacy wedding souvenirs look out-of-place. Even the program disappoints because it lacks any biographical information about the actors or creative staff.   

This is indeed an interesting and unique production. Its attempt to make Shakespeare’s sixteenth century historical drama feel contemporary and accessible, but ultimately it ends up being more confusing than meaningful and enlightening. Featuring strong performances by several members of this large cast, it’s Andrew Pond’s realistic, heartfelt portrayal of Richard that is the most compelling reason to see and admire this production.

Somewhat Recommended

Reviewed by Colin Douglas

Presented October 1-November 3 by Eclectic Full Contact Theater at the Athenaeum Theatre, 2936 N. Southport Ave., Chicago.

Tickets are available in person at the box office, by calling 773-935-6860 or by going to www.eclectic-theatre.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.