The Royal Shakespeare Company has returned to Chicago for the first time in 30 years with a remarkable production of William Shakespeare's "Pericles" direct from an acclaimed run in Stratford-upon-Avon, England.
Part of Shakespeare's latter "romances," this epic tale of a prince's journey through battles, marriage, birth, and death is one of the wilder of Shakespeare's works that I was not as familiar with as many of his other, more popular plays.
The play is filled with shipwrecks, storms, battles, and jousting contests, all staged in the most imaginative ways possible in the relatively intimate Courtyard Theater at Chicago Shakes. The elements of romance, birth, rebirth, magic, and mistaken identity (all themes that pop up in the later catalog of The Bard) are handled with skill, earnest drama, and crackling, a laugh-out-loud comedy by an extraordinary cast of actors from the RSC.
The first act is a great build and a wonderful execution of plot, action, and complications that pay off in massive ways in the wonderful second act when real, powerful, and genuine emotion erupts from the stage in a series of revelations that are pulled off so deftly that you just may find yourself crying in the end. Every sentiment is earned, every twist is brilliant, and every moment is rewarding.
The performances are strong, with actors in the ensemble playing many parts with distinctive variances and unique choices. Some parts are more significant than others, and each lets the actors shine differently, allowing for some incredible character work.lets the actors shine in different ways allowing for some really incredible character work.
The versatile members of the supporting cast give excellent performances, including terrific work from Philip Bird, Jacqueline Boatswain, Sam Parks, and Gabby Wong. The two standouts, however, are Felix Hayes, absolutely outstanding as an incestuous king, a goofy fisherman, and the owner of a brothel, and Christian Patterson, who completely steals the first act as Simonides, the King of Pentapolis and father of Thaisa (who Pericles wins the hand of). Patterson's command of the stage is astonishing, his comic timing (and crowd work) is dazzling, and when he needs to get serious, he does so effortlessly.
Then there are the two leads: Rachelle Diedericks is intoxicatingly good as the narrator, who becomes Marina (the daughter of Pericles) and completely owns the stage. In the title role, the commanding Zach Wyatt is subtle yet filled with young energy in the first act and wise, thoughtful, and completely engrossing in the much more emotional second act.
In addition to the superb acting, Tamara Harvey's stagecraft and direction are excellent, and the set design, costumes, and props are top-notch. A wonderful group of musicians perform live music (who also interact with the cast), and the sound design and lighting are simply outstanding.
My girlfriend Julie and I attended the opening night performance. We both agree that this is one of the best pieces of theater we have seen in years, and we can't recommend it highly enough.
Royal Shakespeare Company's "Pericles" is playing through December 7th, 2024, at Chicago Shakespeare Theatre's Courtyard space at Navy Pier. Get your tickets now.
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