Savage and Sanguine

Richard III

Shakespeare described the hunchbacked anti-hero of his tragedy, generally called a history play, as “rudely stamped.” It depicts the Machiavellian rise to power, and the short reign of terror, of King Richard III of England. While the role of Richard, Duke of Gloucester has almost always been played by a talented male actor, Artistic Director Edward Hall’s new breathtaking, eye-popping production breaks with tradition by casting an accomplished actress, a Tony Award nominee, in the title role.

Katy Sullivan is quite simply a revelation as Richard III. She makes this role her own. Not only is she a frightening force of nature, a commanding and capable performer, but Ms. Sullivan has several other distinctions. She was the first amputee actress to perform on Broadway. And, for her innovative, cutting edge performance in the Pulitzer Prize-winning play, “Cost of Living,” Katy was nominated for a Tony Award. The talented actress has also been seen locally at the Goodman and Northlight Theatres. On television, Ms. Sullivan portrays Esther in “Dexter: New Blood.” And, as if that weren’t enough, Katy Sullivan is a four-time Track and Field Champion, having competed and established a new American record in the London Paralympic Games. Now starring in Edward Hall’s new savage and sanguine production, Ms. Sullivan brilliantly tackles and owns the stage in a role that’s challenged such luminaries as Sir Lawrence Olivier, Ian McKellen, Al Pacino and, most recently, Benedict Cumberbatch. This young actress gives a must-see performance that will be remembered for years to come.

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 the Duke of Gloucester’s meteoric rise to power. In this play, he proves himself over and over again to be just as cruel, callous and cold-blooded as legend has painted him. Richard is a merciless villain and there’s very little remorse felt for him when he gets his just desserts in the final moments of this tragic and violent drama.

When the lights come up, we see a melancholy individual dressed all in black sitting alone centerstage. Commanding the Courtyard stage with voice and physicality, this wretched, but revengeful individual bemoans that this is “the winter of our discontent.” Richard criticizes and scorns his brother’s accession to the throne. Richard, Duke of Gloucester, sees himself as the only true and rightful King of England, not his brother Edward IV. In fact, as Richard festers inside, he’s already begun plotting to insure that his rise to power will happen unimpeded by family, friends or enemies. Richard confesses that he’s “determined to prove a villain” as he schemes to have his brother George, Duke of Clarence, and next in line to the crown, conducted to the Tower of London. But this is just the beginning of Richard’s heartless, bloody path to become King.

Chicago Shakespeare’s remarkable, contemporary production is the Bard’s fictional interpretation of a particularly bloody period in England’s history. However, watching this story unfold, audiences can’t help but be reminded of a certain disgruntled and arrogant former president. Richard’s egotistical drive to become King proves that old adage: “Everything old is new again.” Directed with style, grit and a fair amount of gallows humor, Richard isn’t portrayed as the ugly hunchback of legend. This man-who-would-be-king is played with stunning valor and bravado by Katy Sullivan who, instead, uses her own physical handicap as an extension of Richard’s character.

As Richard, Ms. Sullivan often drags herself around the stage. Sometimes she’s confined to a gurney or a wheelchair, where this tyrant can maneuver and observe his subjects. Richard is able to stop and restart the play at will, simply by breaking the fourth wall and talking directly to the audience. But then, at the top of Act II, Katy Sullivan’s Richard surprises everyone as he rises from his chair and attaches a pair of prosthetic legs. In one of this production’s many jaw-dropping moments, Richard strides majestically across the stage, his noble head above all of his subjects. 

In other powerful moments that shock and frighten, Richard engineers the murders of both his brothers, King Henry VI and George, Duke of Clarence. He then poisons Lady Anne, hires someone to kill his young nephews, the two little Princes, in the Tower of London, and does away with many other former supporters who have finally seen Richard for the cruel, brutal demon he is. The battles rage on until, wounded, Richard falls after losing one of his prosthetic legs, 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, who’ll soon become King Henry VII.

The entire cast is sensational. They are consummate actors and sing with flair, often playing multiple roles. In addition to Katy Sullivan, the supporting company features some of Chicago’s finest actors. Demetrios Troy and Scott Aiello are excellent as Richard’s brothers. They both return later as the Earl of Richmond and Lord Stanley, respectively. The always brilliant Sean Fortunato is both Lord Rivers and, in another gender-bending bit of casting, Richard’s mother, the Duchess of York. The wonderful Erik Hellman is superb, both as Lord Hastings and the Duke of Norfolk. Sir William Catesby, Richard’s most loyal henchman, is played with pure malice by Anatasha Blakely. 

Mo Shipley and Mark Bedard are humorous and agile as the Two Murderers, as well as skillful puppeteers who bring life to Edward and Richard, the young Princes. Debo Balogun is an eerie, blood-thirsty Lord Ratcliffe; and Yao Dogbe is strong and valiant as the Duke of Buckingham. E.M. Davis nicely plays both the Bishop of Ely and the amoral, murderer, Tyrell. And both Jessica Dean Turner, as the passionate Queen Elizabeth, Jaeda LaVonne, as lovely Lady Anne and Libya V. Pugh, as the banished Queen Margaret, are all strikingly beautiful and stunningly powerful, while ably holding their own against the evil Richard.

This production is a stunning masterpiece of visual and auditory theatricality. The scenic and costume design by Michael Pavelka is both magical and macabre. Often I was reminded of the horrific Grand Guignol imagery of “Sweeney Todd.” Marcus Doshi’s lighting provides an additional element of allurement and deftly focuses our attention where needed. The ghostly sound design created by Pornchanok Kanchanabanca is often mesmerizing and diabolic, aided by Jon Trenchard’s precise music direction and original music. 

In all, Edward Hall’s sanguine and savage vision, peppered with buckets of blood, a deluge of dark humor and some dynamic direction, is truly a must-see production. Katy Sullivan’s unique and majestic interpretation of the title role, coupled with so much magnificent artistic support, both on and offstage, make this is an extraordinary production that audiences will not soon forget.       

Highly Recommended

Reviewed by Colin Douglas

Presented February 2-March 3 by Chicago Shakespeare Theatre in the Courtyard Theatre venue, at Navy Pier, Chicago.

Tickets are available in person at the box office, by calling the theatre at 312-595-5600 or by going to www.chicagoshakes.com.

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