History Repeats Itself

A Tale of Two Cities

“It was the best of times, it was the worst of times; it was the age of wisdom, it was the age of foolishness…” Those opening lines of  Charles Dickens’ epic novel are perhaps the most recognizable from all his books—probably from any work of fiction. The author’s 1859 serialized novel was very popular with Victorian readers, not just because it was filled with dozens of fascinating characters and thrilling, entangled plot lines. The story, which was set almost 100 years earlier, both in London and Paris, takes place before, during and after the French Revolution. However, 19th century readers could clearly see parallels with the era in which they were living. They were discovering a truism that we’ve all heard many times: History often repeats itself.

And in playwright Brendan Pelsue’s riveting new adaptation that fact couldn’t be more undeniable. His script is startling in how contemporary it feels. Despite the play being set in the late 18th century, the events definitely mirror today’s world. Pelsue’s adaption premiered last year at Atlanta’s Alliance Theatre, but Shattered Globe’s Midwestern Premiere seems as if the playwright penned his play only yesterday. As our nation’s newly-elected President is completing his first 100 days in office, many would argue that it feels as if we’re entering an American Reign of Terror. The playwright may have noticed certain comparisons between the events leading up to French Revolution and the turbulent political climate of 2020. It’s likely that Pelsue’s script was his reaction to the January 6 mob insurrection, an event that could be seen as a modern day storming of the Bastille. 

Brendan Pelsue’s bold reimagining of Dickens’ novel appears as Story Theatre. Under Director Mikael Burke’s powerful and playful guidance, eight talented actors play a myriad of roles, and some of them have a turn as narrator, speaking directly to the audience. In fact, one of the narrators explains to theatergoers that, from time-to-time, they’ll be asked to become part of the performance. Playgoers become the mob, often prompted to provide verbal “distain,” “approval,” “horror,” “murmurings,” “outrage,” etc. Thus, in this production, not only is the fourth wall broken; it’s shattered as the audience becomes a character and is increasingly involved.

There are other interesting and sometimes humorous theatrical conceits and castings employed in this production. In Dickens’ novel, the two protagonists, Charles Darnay (Diego Vasquez Gomez) and Sidney Carton (Glenn Obrero) supposedly resemble each other. But these two talented actors, who beautifully portray the two characters, look nothing alike. However, we still buy into the idea. Lovely, gifted actress Demetra Dee mainly plays heroine Lucie Manette, but also the arrogant and selfish Marquis Saint Evremonde, as well as others. Versatile Jeff Rodriguez beautifully plays the English prosecutor, mercenary barkeep Monsieur DeFarge, Citizen Bertrand, and a bereft French peasant father. But he stands out most brilliantly with his memorable portrayal of foppish French King Louis XVI. Among the many roles Jazzma Pryor plays, she makes an especially fiery and frighteningly fierce Madame DeFarge. She also rallies the audience when they should voice their responses. 

Penelope Walker plays Lucie’s emotionally damaged father and Darnay’s father-in-law, Dr. Alexander Manette. The actor also plays one of the escaped French aristocrats, a teenager on his way to the guillotine, a member of the French Estates Generals and part of France’s National Assembly. In these roles Walker’s joined by Glenn Obrero and William Anthony Sebastian Rose II. Rose also convincingly plays an array of supporting characters, from banker Jarvis Lorry to John Barsad. And one of Shattered Globes most talented and versatile company members, Daria Harper opens the play as one of the main storytellers, carrying with her a giant skein of red yarn. Throughout the play, she skillfully portrays, lawyers, citizens, judges—even a darkly chipper executioner.

Be prepared. This isn’t a short version of Charles Dickens’ classic novel, but, except for a few dense passages of dialogue, it’s a brilliant adaptation and the time flies by. Director Mikael Burke’s expert handling of Brendan Pelsue’s intricately-detailed script is an artistic achievement. He wisely guides the development of a multitude of characters, paces the rise, fall and aftermath of the Revolution and makes good use of the entire performance space. Mr. Burke also constantly challenges the talents of his brilliant ensemble. 

Kudos to Sound Designer Christopher Kriz and Lighting Designer Eric Watkins for creating the ever-changing mood and tone of this story and played out on a sparse Set, Co-Designed by Milo Bue and Eleanor Kahn. Congratulations, also, to Kotryna Hilko for her imaginative 18th century Costumes that help define each character. Shattered Globe Theatre once again succeeds in their mission. They’ve redefined the idea of ensemble theatre, discovered new connections between story, artist and audience, and explored this bold, new adaptation from a challenging perspective. Theatergoers will become lost in Dickens’ thrilling story as they marvel at this theater’s creative achievement. And as this tale unfolds before them, audiences will continually be reminded that history is once again repeating itself. 

Highly Recommended

Reviewed by Colin Douglas

Presented April 18-May 31 by Shattered Globe Theatre at Theater Wit, 1229 W. Belmont Ave., Chicago.

Tickets are available in person at the box office, by calling them at 773-975-8150 or by going to www.theaterwit.org.

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