REVIEW: The Winters Tale Via Invictus Theatre Now Playing Through April 20, 2025 at Windy City Playhouse

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Invictus Theatre Company Presents

THE WINTER’S TALE

Playing March 11 – April 20 at Windy City Playhouse

Modern dress production to feature original music and choreography

GUEST REVIEW

By D'Arcy Mies

As a lover of Shakespeare, The Winter’s Tale has always intrigued me. One of Shakespeare’s

last plays, it has many of the tried-and-true features we expect from The Bard’s work - there are

star-crossed lovers, mad kings, and plenty of bawdy fun. But Invictus Theatre’s new production

reminds us that it is always worth another viewing!

(L-R): Jennifer Agather, Robert Hunter Bry

(L-R): Fred A. Wellisch, Diego Rivera-Rodriguez

Time is a major theme in The Winter’s tale. This is reflected in the set itself, which mirrors a

clock, and the play starts with a New Years Party. This opening scene is immersive and feels

truly like you are a fly on the wall, especially as Leontes and his queen Hermione exchange a

tender moment! The seating arrangement in the theatre also contributes to the feeling that the

audience has been transported “out of time”.

(L-R): (Sam Nachison background), Sydney René Cox, Kyle Quinlivan, Carolyn Waldee

Although The Winter’s Tale is truly quite dramatic and intense, there are many cheerful and

humorous parts. The latter half of the play brings us to Bohemia, full of brightly colored

costumes, singing and dancing and a goodly amount of humor. The ensemble worked well

together, and the many physical bits well timed.. To me, the acting that stood out, and most

particularly moving were the performances of Queen Herminone (Andrea Uppling) and wise

Paulina (Amber Dow).

(L-R): Raúl Alonso, Andrea Uppling

(L-R): Carolyn Waldee, Sydney René Cox, Andrea Uppling, Michael Stejskal

D'Arcy Mies is a Montessori educator, theatre lover, and lifelong Chicagoan.

(L-R): Diego Rivera-Rodriguez, George Dougherty, Robert Hunter Bry

Invictus Theatre Company – who, with twelve 2024 Non-Equity Jeff Award nominations, earned more than any other company primarily producing non-musicals – has announced the cast and production team for its 2025 season-opening production of Shakespeare’s THE WINTER’S TALE. Artistic Director Charles Askenaizer will direct this full-scale modern dress interpretation featuring a cast of 16 and an original musical score by Jeff Award winner (and current nominee) Petter Wahlbäck performed by live vocalists and a five-piece instrumental ensemble. THE WINTER’S TALE will be presented at the company’s home at the Windy City Playhouse, 3014 W. Irving Park Road, Chicago. It will open to the press on Monday, March 17 at 7 p.m., following previews from March 11, and will play through April 20.

One of the Bard’s later plays, THE WINTER’S TALE has been termed by some critics as a comedy, and by others, a romance. In Sicily, King Leontes suspects his pregnant wife Hermione of infidelity with his best friend Polixenes, and when the child is born, has her banished from the kingdom. The baby girl is adopted by a shepherd, who names her Perdita. With the help of some magic, King Leontes’ suspicions are eventually proven to be groundless and the family is put back together. The first three acts of this story of jealousy are filled with intense psychological drama, while the last two acts are comical and supply a happy ending. Askenaizer says, “while the story begins as a fable of some rather dark emotions, it is ultimately hopeful, showing the healing power of time and the possibility for forgiveness and rebirth. Shakespeare acknowledges, though, that the good things one might hope for do not come easily or quickly, but come after some struggles and the passage of time.”

(L-R): Michael Stejskal

Askenaizer’s cast will be led by Michael Stejskal (David Lewis in GODS AND MONSTERS at Theatre Wit) as the jealous King Leontes. Andrea Uppling (Jeff-nominated for her Martha in Invictus’s WHO’S AFRAID OF VIRGINIA WOOLF?) will play Hermione. Completing the suspected love triangle as Polixenes will be Raúl Alonso (A BRIGHT ROOM CALLED DAY with Blank Theatre Company). Florizel, the prince who becomes betrothed to Perdita, will be played by Robert Hunter Bry, who had the title role in City Lit Theatre’s THE VIRGINIAN, and has twice played Mr. Darcy in CHRISTMAS AT PEMBERLY (for Buffalo Theatre Ensemble and St. Sebastian Players). Amber Dow (of Invictus’s THE TRAGEDY OF MACBETH and Kokandy’s AMERICAN PSYCHO) will be Hermione’s devoted friend Paulina.

(L-R): Kyle Quinlivan, Sam Nachison

Also in the 16-person cast are Jennifer Agather (Perdita/Maximillus), Kim Pereira (Camillo), Fred A. Wellisch (Antigonus/Bohemian Ensemble/Musician), Carolyn Waldee (Emilia, Mopsa, Lord/Musician), Sam Nachison (Autolycus/Lord), Chuck Munro (Shepherd/Lord), Kyle Quinlivan (Clown/Lord/Musician/Archidamus), Sydney René Cox (Lady 3/Lord/Servant/Dorcas/Musician), George Dougherty (Ensemble/Officer/Lord/Time), Megan Erin Lai (Ensemble/Lady 2/Shepherdess (Musician), Diego Rivera-Rodriguez (Mariner/Lord/Bohemian Ensemble), and Jose Yantin Jr. (Ensemble/The Bear, U/S: Autolycus/Florizel).

(L-R): Kyle Quinlivan, Sam Nachison

Understudies are Adam Schulmerich (Leontes/Polixenes), Anne Trodden (Hermione/Paulina), Mary Margaret McCormack (Perdita/Emilia/Others), Whitney Minarik (Camillo, Hermione 2nd Cover), Arabella DeLucco (Clown/Paulina 2nd Cover), Rory Jobst (Shepherd/Antigonus), and Chase Wheaton-Werle (Leontes 2nd Cover).

Top row (l-r): Jennifer Agather, Raúl Alonso, Robert Hunter Bry, Sydney René Cox

Second row (l-r): George Dougherty, Amber Dow, Megan Erin Lai, Chuck Munro

Third row (l-r): Sam Nachison, Kim Pereira, Kyle Quinlivan, Diego Rivera-Rodriguez

Fourth row (l-r): Michael Stejskal, Andrea Uppling, Carolyn Waldee, Fred A. Wellisch

Fifth row (l-r): Arabella DeLucco, Rory Jobst, Mary Margaret McCormack, Whitney Minarik

Bottom row (l-r): Adam Schulmerich, Anne Trodden, Chase Wheaton-Werle, Jose Yantin Jr.

The production team includes Jeff Award winning scenic designer Kevin Rolfs, who scored two nominations in the recently announced 2024 Jeff Awards for his scenic design of Invictus’s TOPDOG/UNDERDOG and NETWORK. Rolfs previously won the award for his design of Invictus’s WHO’S AFRAID OF VIRGINIA WOOLF?. Another Jeff Award winner is sound designer and composer Petter Wahlbäck, a 2024 nominee for his sound design of Invictus’s THE TRAGEDY OF MACBETH. Jessie Gowens, a Jeff nominee for her costume design of Invictus’s THE CRUCIBLE, is designing costumes for this production. The design team also includes Trey Brazeal (Lighting Designer), Randy Rozler (Properties Design), and Jay Donley (Fight/Intimacy Designer). Jen Cupani is Choreographer.

Completing the production team are Todd Henry Faulstich (Executive Producer), Stacy Scapino (Production Manager), Desiree Stypinski (Stage Manager), Beep Trefts (Assistant Stage Manager), Tom McNelis (Technical Director), Hannah Bolstad (Master Electrician), and Becca Holloway (Casting Director). MC Dougherty is Marketing Manager and Ana Schedler is Graphic Designer.

(L-R): Amber Dow

(L-R): Kyle Quinlivan, Chuck Munro

“In THE WINTER’S TALE, Leontes waits 16 years before finding his redemption and regeneration given at the hand of the one he most wronged.  Though the characters in this play must endure immense trials, the promise of regeneration and renewal—often through mystical, almost miraculous means—guides them toward brighter days ahead. THE WINTER’S TALE reminds us that, though the path may be long and fraught with difficulty; progress, redemption, and salvation await.” 

Invictus Theatre Company has been one of the most notable success stories among Chicago’s storefront theatres in spite of the challenges facing the theatre community in recent years. Founded in 2017, they were an itinerant company until the fall of 2021, when they established residency in the former Jackalope Frontier Theatre in Chicago’s Edgewater neighborhood, renaming it the Reginald Vaughn Theatre in honor of a deceased founding member. In that space, they continued to build a reputation for intimate and honest interpretations of classics with fidelity to the original texts and close attention to character development. The company’s extraordinarily successful 2021-22 season netted the company five Jeff Awards for its 13 nominations. When a fire gutted the Thorndale Avenue building housing the Reginald Vaughn Theatre in July 2023, the company was again homeless until early 2024, when they took up residence in the Windy City Playhouse on Irving Park Road. The company’s inaugural season in that space included highly regarded productions of TOPDOG/UNDERDOG, Chekhov’s THREE SISTERS, the Chicago premiere of NETWORK, and Shakespeare’s THE TRAGEDY OF MACBETH. The company was recently honored with twelve 2024 Jeff Award nominations – the most of any company primarily producing non-musical plays.

TALKIN BROADWAY’s Christine Malcom said of TOPDOG/UNDERDOG, Invictus’s first production in the Windy City Playhouse, “In its new, much larger home at the Windy City Playhouse, Invictus Theatre Company loses none of the company's trademark intimacy or power…” The CHICAGO READER said of THREE SISTERS, “the performances are universally first-rate.“ Hugh Iglarsh of NEW CITY said Invictus’s NETWORK was a “smart, deeply felt, absorbing production.” Wesley David, writing for BUZZ CENTER STAGE, said THE TRAGEDY OF MACBETH was “a potent, intense experience.” 

(L-R): Michael Stejskal, Kim Pereira

Ticket prices for THE WINTER’S TALE are $38.00 for regular performances Fridays through Sundays, $25.00 for previews and Monday evenings. Season Flex Passes are available in three options: eight admissions for $200.00, four admissions for $120.00, or four admissions on Monday nights for $80.00. Individual show tickets and Flex Passes are on sale now at www.invictustheatreco.com.

Performances Fridays, Saturdays, and Mondays at 7 p.m., Saturdays and Sundays at 1 p.m.Performances at Windy City Playhouse, 3014 W. Irving Park Road, Chicago. Closing: Sunday, April 20, 2025, at 1 p.m.

Ticket prices: Previews $25. Monday $25. Friday through Sunday $38. Season subscriptions available. www.invictustheatreco.com.

One of Shakespeare’s final plays, THE WINTER’S TALE is a romantic comedy with elements of tragedy. King Leontes of Sicilia falsely accuses his wife, Hermione, of infidelity with his best friend, the King of Bohemia. Inflamed by jealousy and convinced that he is right, Leontes’ torment causes a storm of loss that only the next generation can heal. Shakespeare’s THE WINTER’S TALE is a captivating parable of betrayals, renewed hope, and the transformative power of time.

DIRECTOR BIO

Charles Askenaizer (Artistic Director, Director) is the Founding Artistic Director of Invictus Theatre. He won the 2023 Jeff Award (Non-Equity Wing) for his direction of the company’s WHO'S AFRAID OF VIRGINIA WOOLF?, which also won Jeff Awards for Production of a Play, Scenic Design (Kevin Rolfs), and Performer in a Supporting Role – Play (Rachel Livingston). Other recent Invictus directing credits include: NETWORK, THREE SISTERS, THE CRUCIBLE (Jeff Award Nominations-Director, Production), JULIUS CAESAR, HAMLET, 'NIGHT, MOTHER (Associate Director), THE MERCHANT OF VENICE, and OTHELLO: THE MOOR OF VENICE. Directing credits outside of Invictus include TITUS ANDRONICUS (Bare Knuckles Theater), JULIUS CAESAR (Associate Director- Brown Paper Box), THE TWO GENTLEMEN OF VERONA (Reutan Collective) and readings with Chicago Dramatists and Piccolo Theater. Since 2018, Charles has also directed several productions for Invictus's outreach programming in partnership with the Cook County Juvenile Justice System and Lawrence Hall.  In 2024, Charles was named one of New City Magazine’s “Players 50 2024: The Rising Stars and Storefront Stalwarts.”

ABOUT INVICTUS THEATRE COMPANY

At Invictus Theatre Company, our mission is to create theatre that promotes a better understanding of language: its poetry, its rhythm, its resonance; through diverse works by diverse artists. We respect the power of heightened language: spoken, written, sung; to express the breadth of the human condition. We work to harness the power of language: to promote diversity, to engender respect, to foster collaboration; and to empower our communities to share their voices.

Invictus Theatre Company incorporated in January 2017 and received its 501(c)(3) nonprofit status in February 2017. A diverse group of Chicago actors and directors founded Invictus with the vision to empower their communities through theatrical productions of heightened language. We are committed to the idea that our productions should reflect the communities we represent, and, to that end, we are committed to non-discriminatory hiring practices. In working with local artists, designers, and production teams, Invictus Theatre Company does not discriminate on the basis of race, sex, sexual orientation, gender identity, ability, nationality, citizenship, religion, or any other status protected by law.

Invictus Theatre Company is generously supported by Michael and Mona Heath of The Heath Fund, The Paul M. Angell Family Foundation, Chicago Department of Cultural Affairs and Special Events (DCASE), Untouchable Times Tours, Inc., and the Illinois Arts Council. 

Redtwist Theatre’s William Shakespeare's Titus Andronicus NOW PLAYING THROUGH MARCH 30, 2025

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REDTWIST THEATRE’S WILLIAM SHAKESPEARE'S 

TITUS ANDRONICUS

DIRECTED BY ARTISTIC DIRECTOR OF DEVELOPMENT DUSTY BROWN

NOW PLAYING THROUGH MARCH 30

Anne Sheridan Smith Plays the Renowned General in this Original Adaptation by Brown, Caroline Kidwell and Jordan Gleaves

Award-winning Redtwist Theatre’s William Shakespeare's Titus Andronicus, is now playing through March 30, at Redtwist Theatre, 1044 W. Bryn Mawr Ave. This original adaptation by Artistic Director of Development Dusty Brown, Caroline Kidwell and Jordan Gleaves is directed by Brown and stars Anne Sheridan Smith as the titular character. The total running time, including the intermission, is two hours and ten minutes. The performance schedule is Thursdays - Saturdays at 7:30 p.m. and Sundays at 3:30 p.m. Tickets are $35 and available now at RedtwistTheatre.org. 

Redtwist's Titus Andronicus brings prejudice and the politics of revenge to the forefront in Shakespeare's bloodiest script. Foreign wars have left the country divided, an impulsive leader stokes resentment and now the country teeters on the brink of civil war over petty grievances and personal vendettas. Can Rome's leaders save the empire from itself? 

The Titus Andronicus cast includes Anne Sheridan Smith (she/they, Titus Andronicus); James Lewis (he/him, Aaron); Caroline Kidwell (she/her, Lavinia Andronicus); Sabine Wan (she/her, Marcus); Philip C. Matthews (he/him, Lucius Andronicus); Laura Strum (she/her, Tamora); Quinn Leary (he/him, Demetrius); Elijah Newman (he/him, Chiron); Joshua Servantez (he/him, Saturninus) and Madelyn Loehr (she/her, Bassianus/ensemble).  Rena Ahmed (she/her, Titus Andronicus U/S); Makari Robinson McNeese (they/them, Aaron U/S); Hannah McCauley (she/her, Lavinia Andronicus U/S); Daniel Vaughn Manasia (he/him, Marcus U/S); Christine Cummins (she/her, Lucius Andronicus U/S); Michelle Perry (she/her, Tamora U/S); Gavin Blayne (he/him, Demetrius U/S); Seth Eggenschwiller (he/him, Chiron U/S); Grayson Kennedy (he/him, Saturninus U/S) and Madi Bacino (she/her, Bassianus/ensemble U/S). 

The Titus Andronicus creative team includes Dusty Brown (they/them, adapter, director, technical director and sound designer); Raine DeDominici (they/she, production manager/production stage manager); Eliot Colin (they/he, stage manager); Andie Cash (she/her, assistant director); Korey Pimental (he/him, dramaturg); KClare McKellaston (she/her, costume designer); Leo Bassow (they/he, props designer); Meredith Ernst (she/her, text coach); Eric Luchen (he/them, scenic designer); Erin Sheets (she/her, intimacy director); Michael Dias (he/him, violence director) and Eileen Dixon (she/they, casting director and artistic director of production).

Productions, participants and dates are subject to change. 

ABOUT DUSTY BROWN, adapter/director/technical director

Dusty Brown is one of the co-artistic directors of Redtwist Theatre. They began their career as a stagehand in Atlanta, Georgia, working on everything from Shakespeare to new works. They received their MFA in directing from Ohio University in 2021. Notable productions include: Steve Yockey's Wolves at Redtwist and Pluto at Ohio University; William Shakespeare's Macbeth at Three Crows and Ohio University; Tracy Letts' Bug at Ohio University; Stephen Sondheim's Sweeney Todd at DramaTech in Atlanta; Uffizi at Bottled Lightning in Atlanta and Neil Simon's Barefoot in the Park at Vox Populi Productions in Chattanooga.

ABOUT CAROLINE KIDWELL, adapter

Caroline Kidwell is elated to be returning to Redtwist for Titus Andronicus. This summer, she performed at Rhinofest her original play-with-music, Penelope, based on the distinguished platypus of the same name. Other recent credits include Ten (The Gift); Cry It Out (Oil Lamp Theatre); Murder, Rewrote (Hell in a Handbag);and Vinegar Tom (Red Theater). She is a co-founder of WaitWhat Films, with whom she produced her debut short, “Killer Set,” directed by her sister Maura. 

ABOUT JORDAN GLEAVES, adapter

Jordan Gleaves is honored to do what Ira Aldridge did and add to Aaron’s story. Big props to James Lewis and Markari Robinson McNeese for accepting the charge. Gleaves thanks Redtwist for bringing him along for the ride. Actor first, Gleaves has collaborated with MPAACT, Court Theatre, Remy Bumppo Theatre Company, Theatre L’Acadie, The Nashville Shakespeare Festival and Montana Shakespeare in the Parks, just to name a few. “He dies upon my scimitar's sharp point that touches this my first-born son and heir!” - Aaron

ABOUT REDTWIST THEATRE

Redtwist, now celebrating its 20th anniversary, is an award-winning theatre company that stages up close and personal contemporary dramas annually in its intimate black box theatre housed proudly within the heart of Edgewater’s Bryn Mawr Historic District. 

Intimate performances at Redtwist are designed to place the theatre patron in the midst of the stories being told, making them accessible and riveting. Redtwist strives for excellence with every project and endeavors to take risks while offering opportunities for up-and-coming actors, designers and directors to work with established talent. Redtwist provides the very best Chicago storefront theatre experience from excellence on stage, to warm hospitality in a clean, friendly environment.

Award-winning Redtwist Theatre’s William Shakespeare's Titus Andronicus, is now playing through March 30, at Redtwist Theatre, 1044 W. Bryn Mawr Ave. This original adaptation by Artistic Director of Development Dusty Brown, Caroline Kidwell and Jordan Gleaves is directed by Brown and stars Anne Sheridan Smith as the titular character. The total running time, including the intermission, is two hours and ten minutes. The performance schedule is Thursdays - Saturdays at 7:30 p.m. and Sundays at 3:30 p.m. Tickets are $35 and available now at RedtwistTheatre.org.

UPCOMING:

OPENING: BABES WITH BLADES' RICHARD III, AUGUST 25 – OCTOBER 15th AT THE EDGE THEATER

 COME SLAY WITH US: 

 BABES WITH BLADES THEATRE COMPANY ANNOUNCES CAST AND CREATIVE TEAM FOR RICHARD III, AUGUST 25 – OCTOBER 15, 

AT THE EDGE THEATER

Directed By Richard Costes, Babes With Blades Theatre Company’s Shakespeare Features Non-Traditional Casting and is Informed by a Collaboration with the University Of Illinois Chicago and their incubators for Disability Arts and Culture

Babes With Blades Theatre Company (BWBTC) returns to live performances with its 2022 season and its presentation of William Shakespeare’s Richard III, in partnership with the University of Illinois Chicago’s Disability Cultural Center and directed by Richard Costes, August 25 – October 15, at The Edge Theater, 5451 N. Broadway Ave., with select performances being live streamed. Previews are Thursday, Aug. 25 – Saturday, Aug. 27 at 8 p.m. and Sunday, Aug. 28 at 3 p.m., Thursday, Sept. 1 and Friday, Sept. 2 at 8 p.m. I'll be out for the press opening Sept. 3rd so check back shortly after for my full review. The regular performance schedule is Thursdays – Saturdays at 8 p.m. and Sundays at 3 p.m. All performances are presented with open captioning and select performances will be live streamed. Tickets are $20-35 available HERE.

Babes With Blades Theatre Company brings the tale of Shakespeare’s most complex, cruel and fascinating protagonist to life this summer in a new version that accounts for previously disregarded perspectives.  BWBTC Shakespeare’s Richard III tells the story of Richard of Gloucester, who uses intelligence, deception and political manipulation towards his ultimate goal: England’s crown. Babes With Blades’ production is a partnership with a project called “Making Inclusive Theatre: Richard III as Disability Art,” a collaboration with the University of Illinois Chicago’s Disability Cultural Center, the UIC Department of Theatre and Bodies of Work, a network of disability arts and culture. BWBTC Shakespeare’s production of Richard III adds a new layer to the complex tale by making it more inclusive in order to further explore othering and disability culture.  

“This production represents so many aspects that are priorities for BWBTC: focusing on marginalized stories, telling complicated tales of flawed humans and our signature of stage combat as a storytelling tool,” states Artistic Director Hayley Rice. “This team is ready to tell Richard III’s story in the manner it should be told, with the artists who should be telling it, but are so often left out of the conversation completely.”

The ensemble cast of 13 artists features Kristen Alesia,  (she/her/hers/they/them/theirs; Lady Anne/Lord Hastings), Aszkara Gilchrist, (she/her/hers; Richard III); Madison Hill, (they/them/theirs; Ratcliffe/Duke of York); Leah Huskey, (she/her/hers; Lord Grey/Duchess of York); Kayla Marie Klammer, (she/her/hers; Lord Lovell/Archbishop of Canterbury); Lauren Paige, (she/her/hers; Queen Elizabeth); Pat Roache, (they/them/theirs; Queen Margaret/Brackenbury); Genesis Sanchez, (she/her/hers/they/them/theirs; Earl of Richmond); Symmone Sill, (she/her/hers; Marquis of Dorset/Prince Edward); Marianna Gallegos, (she/her/hers; understudy for Margaret/Brackenbury, Ratcliffe/York, Catesby); Jo Hoch, (she/her/hers, understudy Richard III); Alison Kertz, (she/her/hers, understudy Queen Elizabeth/Richmond, Grey/Duchess of York); Emma Norville, (she/her/hers, understudy Clarence/Stanley/Lord Mayor, Anne/Hastings); Elizabeth Quilter, (she/her/hers, understudy Lovell/Archbishop, Buckingham) and Xela Rosas, (she/her/hers, understudy Rivers/Bishop of Ely/Messenger, Dorset/Prince Edward, King Edward IV) along with BWBTC ensemble members Kim Fukawa, (she/her/hers, Catesby/King Edward IV); Jillian Leff, (she/her/hers; Duke of Buckingham); Jennifer L. Mickleson, (she/her/hers; Duke of Clarence/Lord Stanley/Lord Mayor); Izis Mollinedo, (they/them/theirs/she/her/hers; Rivers/Bishop of Ely/Messenger).  

The production team includes Richard Costes, (he/him/his; director); Claire Alston, (she/her/hers; dramaturg); Esau Andaleon, (he/him/his; assistant stage manager); Dr. Margaret Fink, (she/her/hers; director of Disability Cultural Center, UIC); Bianca C. Frazer, PhD (she/her/hers; UIC Disability Culture Advisory Team) Rose Hamill, (she/her/hers; production manager); Carrie Hardin, (she/her/hers; text coach); Jesse D. Irwin, (he/him/his; sound design); Matt Lauterbach, (he/him/his; accessibility coordinator); Sydney Lynne, (she/her/hers; scenic design); Clare McKellaston (she/her/hers; costume design), Tab Mocherman (they/them/theirs; COVID compliance officer); AJ Morley (he/him/his; props design); Gabrielle Owens, (she/her/hers/they/them/theirs; stage manager); Kat Pleviak, (she/her/hers; puppet design); Keyana Robinson, (she/her/hers); UIC videographer); Carrie Sandahl, (she/her/hers, PhD, professor of Department of Disability and Human Development; UIC Disability Culture Advisory Team), Rachelle Tsachor, (she/her/hers; UIC Disability Culture Advisory Team), Becca Veneable, (she/her/hers; lighting design) and BWBTC Ensemble Members Maureen Yasko, (she/her/hers; fight/intimacy design) and Jillian Leff, (she/her/hers; assistant fight/intimacy design). 

 

ABOUT RICHARD COSTES, DIRECTOR OF RICHARD III 

Richard Costes is a deaf artist of color who has also worked as an actor, director, playwright and accessibility consultant. Costes grew up near Youngstown, Ohio where he graduated from Kent State University with a Bachelor of Arts in Theatre Studies. His professional career began in Chicago, where he fell in love with the storefront theater scene and its continued work towards diversity and inclusion. Since 2014, he has performed at Steep Theatre Company, Chicago Shakespeare Theater, Red Tape Theatre, Redtwist Theatre, Broken Nose Theatre, Porchlight Music Theatre, Rasaka Theatre Company and many others.  He is a 2017 recipient of a 3Arts Make a Wave grant. He has presented at Gallaudet University’s symposium on Visual Shakespeare and was a member of the 2019 Deaf Theatre Action Planning Session hosted by HowlRound at Emerson College. 

ABOUT UNIVERSITY OF ILLINOIS CHICAGO DISABILITY CULTURAL CENTER (UIC DCC)

As one of the first Disability Cultural Centers in the country, the UIC DCC is committed to building community around disability experience and anti-ableism. It centers disability issues as social justice issues, exploring intersectional identities, developing disability culture, fostering a sense of belonging, and imagining radically different futures. Most UIC DCC programming is open to everyone--students, staff, faculty, and community members--and nondisabled allies are welcome to join; the Center also hosts intentional spaces for disabled people to find community. The UIC DCC's programs include public lectures, discussion series, arts-based workshops and one-on-one support.

 

ABOUT BWBTC SHAKESPEARE

Aligned with their mission of representing marginalized voices, BWBTC Shakespeare specifically features actors of marginalized genders to provide an opportunity for audiences to perceive these classic stories through a new lens.  For this production, BWBTC has partnered with UIC’s Disability Cultural Center, the department of Theatre, and Bodies of Work to tell the tale of Richard of Gloucester’s rise to power. Casting both disabled and non-disabled actors and exploring disability beyond the role of Richard III, this production will not only examine stage combat as a storytelling tool, but also interrogate the barriers that the theatre industry often creates when it comes to accessibility for actors.

ABOUT BABES WITH BLADES THEATRE COMPANY

Babes With Blades Theatre Company – over the past 20 years and moving into the future – strives to develop and present scripts focused on complex, dynamic (often combative) characters who continue to be underrepresented on theatre stages based on gender. Babes With Blades Theatre Company uses (and will continue to use) stage combat to tell stories that elevate the voices of underrepresented communities and dismantle the patriarchy.

In each element of their programming, they embrace two key concepts:

1)     Folks of marginalized genders and underrepresented communities are central to the story, driving the action rather than responding or submitting to it.

2)     Everyone is capable of a full emotional and physical engagement, up to and including violence and its consequences.

The company offers participants and patrons alike an unparalleled opportunity to experience every person as heroes and villains; rescuers and rescues; right, wrong and everywhere in between: exciting, vivid, dynamic PEOPLE. It’s as simple and as subversive as that.

This production of Richard III is supported by a UIC Creative Activity Award for a project called "Making Inclusive Theatre: Richard III as Disability Art." 

BWBTC’s 2022 programming is partially made possible by the kind support of The Gaylord & Dorothy Donnelley Foundation, a grant from The Illinois Arts Council Agency, a CityArts Grant from the City of Chicago Department of Cultural Affairs & Special Events (DCASE), and the support of the Small Business Alliance Shuttered Venue Operators (SVOG) grant program.

LAND ACKNOWLEDGEMENT STATEMENT:

Babes With Blades Theatre Company produces theatre in venues located on the traditional homelands of the Council of the Three Fires: the Ojibwe, Odawa, and Potawatomi Nations. Many other tribes such as the Miami, Ho-Chunk, Menominee, Sac, and Fox also called this area home. This region that we now commonly refer to as “The Chicagoland Area”, has long been a center for Indigenous people to gather, trade, and maintain kinship ties. Today, one of the largest urban Native American communities in the United States resides in Chicago. Members of this community continue to contribute to the life of this city and to celebrate their heritage, practice traditions and care for the land and waterways.

Shakespeare’s epic RICHARD III Via Promethean Theatre Ensemble Now Playing Through June 25, 2002, at The Factory Theater

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Promethean Theatre Ensemble will return from its pandemic hiatus with a modern dress storefront production of Shakespeare’s epic RICHARD III. The play will be directed by Steve Scott, an Artistic Associate with the Goodman Theatre, where he most recently directed VANYA AND SONIA AND MASHA AND SPIKE. Scott’s other recent credits include KING LEAR and THE HUMANS at Redtwist Theatre. The title character will be played by Promethean ensemble member Cameron Feagin, who was lauded for her performance last fall as President John F. Kennedy in City Lit Theater’s all-female production of THIRTEEN DAYS. Promethean’s RICHARD III will be performed from May 20 to June 25, 2002, at The Factory Theater, 1623 W. Howard Street in Chicago’s Rogers Park neighborhood. 

"Promethean Theatre Ensemble has done a tremendous job in their performance of William Shakespeare's Richard III at Chicago's Factory Theater." 

Julia W. Rath, Around the Town 

HIGHLY RECOMMENDED

A cast of 15 will play over 30 characters of Shakespeare’s epic history play, also considered a tragedy. Director Scott says, “As one of Shakespeare's largest plays, it’s not often attempted by storefront theaters. I've seen the play produced with very few actors (focusing mainly on the character of Richard) and a lot of actors (focusing on the immense machine that was the monarchy). I've decided to split the difference by keeping the cast total at 15--small enough to keep primary focus on Richard but large enough to explore what I think is the major theme of the play, which is the corrupting nature of the acquisition of power whatever the cost, and the chaos that results when that power is gained only for its own sake, without any notion of what that power can be used to achieve.”

"Overall this was a straightforward, well-executed production of Richard III…. Anchored by Cameron Feagin’s thoroughly evil but ultimately still human performance, I thoroughly enjoyed this production." 

Kevin Curran, Chicago Theatre Review 

RECOMMENDED

In addition to Feagin, the cast will include Gunner Bradley as Catesby, Simmery Branch as Lady Anne/Duke of York, Elaine Carlson* as the Duchess of York/First Murderer, Andres Coronado as Margaret, Jared Dennis* as Stanley, Brendan Hutt* as King Edward IV/Bishop of Ely/Sheriff/Tyrell, Barry Irving as Brakenbury/Archbishop of Canterbury/Norfolk/Dorset, Darren Jones as Ghost of Henry VI/Lord Mayor/Rivers/Oxford, Jack Morsovillo as Ratcliffe/Second Murderer,  Michael Reyes as Clarence/Herbert, Kevin Sheehan* as Hastings/Blunt, Heather Kae Smith* as Queen Elizabeth, Destin Lorde Teamer as Richmond/Grey/Lovell/Prince Edward, and Mark West as Buckingham.

 (* indicates Promethean Ensemble Member.)

Understudies are Andi Muriel (Anne/ Elizabeth/ Duke of York/ Prince), Jessica Goforth (Margaret/ Duchess of York/ Clarence/ 1st Murderer/ 2nd Murderer/ Hastings/ Catesby), Ryan Cason (Buckingham/ Richmond/ Dorset/ Grey/ Brackenbury/ Blunt), Joe Beal (Stanley/ Rivers/ Ratcliffe/ Ghost of Henry VI/ Sheriff/ Herbert/ Oxford/ Norfolk), and Heather Jenks (Richard).

Top Row L-R: Gunner Bradley, Simmery Branch, Elaine Carlson, Andres Coronado, Jared Dennis.

Second Row L-R:  Cameron Feagin, Brendan Hutt, Barry Irving, Darren Jones, Jack Morsovillo.

Third row L-R: Michael Reyes, Kevin Sheehan, Heather Kae Smith, Destin Lorde Teamer, Mark West.

The costumes designed by Rachel Lambert (she/her/hers) will be modern dress, but as Scott explains, “with vestiges of generations and fashions past--emphasizing the fact that this is not just the story of one individual's fight for control, but a story that has been played out for generations before (and after).” In addition to Scott and Lambert, the production team also includes Therese Ritchie (Scenic Designer), Benjamin Dionysus (Lighting Designer), Sebby Woldt (Sound Designer), Tristan Brandon (Props Designer), Maureen Yasko (she/her/hers, Fight and Intimacy Director), Paulette Hicks (Text Coach), Lauren Katz (Assistant Director), Alexa Berkowitz* (Production Manager), Jeremiah Barr* (Technical (Director and COVID compliance), and Becky Warner (Stage Manager).

Tickets, priced at $30 general, $25 seniors, $15 students are on sale now at www.prometheantheatre.org.

"Cameron Feagin gives you everything you want in a Richard—smart, scheming, charismatic, funny and self-consciously theatrical….Come out to see Feagin as a fantastic Richard III." 

Mary Wisniewski, New City Stage 

RECOMMENDED

Promethean Theatre Ensemble selects a service organization to support and promote with each production, bridging ideas within the play to real-world efforts to address challenges within our communities. Promethean’s partner for RICHARD III is Chicago Votes – a non-profit, non-partisan organization building a more inclusive democracy by putting power into the hands of young Chicagoans. The company says, “Chicago Votes was chosen as a partner for RICHARD III because the work that they do is a direct response to the kind of unchecked totalitarianism we see in this play, and in the world.” Promethean will promote Chicago Votes throughout the run of RICHARD III, and raise money for the organization through audience donations.

STEVE SCOTT (Director) is an Artistic Associate at the Goodman Theatre in Chicago and was the Goodman’s producer for more than 30 years until his retirement in 2017. His most recent Goodman directing credits include THE SANTALAND DIARIES; AH, WILDERNESS; and VANYA AND SONIA AND MASHA AND SPIKE. He has directed nearly 300 productions at theaters locally, nationally and internationally; his most recent productions include KING LEAR at Redtwist Theatre, where he is a company member; WHY TORTURE IS WRONG, OR THE PEOPLE WHO LOVE THEM at Eclipse Theatre (where he has been a company member for 20 years); THE CAKE at Buffalo Theatre Ensemble; WORKING 2012 at Dunes Theatre in Michigan City, IN; and THE LEGEND OF GEORGIA MCBRIDE at Nebraska Repertory Theatre.  Mr. Scott has been a member of the faculty of the Theatre Conservatory of the College of Performing Arts at Roosevelt University for more than twenty years; he has also taught at Columbia College Chicago, Loyola University of Chicago, Northwestern University, Northern Illinois University, and the Theatre School at DePaul University. For his work as a director, he has received six Joseph Jefferson Award nominations, an After Dark Award, and numerous Broadway World nominations; for his work in the Chicago theater community, he has received the 2017 Special Jeff Award and the 2018 Lifetime Achievement Award from the League of Chicago Theatres. He now serves as artistic director for the Dunes Arts Foundation in Michiana Shores, Indiana.

Performances Thurs-Sat at 7:30pm and Sun at 3:00 pm

Tickets: $30 general, $25 seniors, $15 students

Tickets and further info available at https://www.prometheantheatre.org/project/richard-iii/

Performances at The Factory Theater, 1623 W. Howard St., Chicago, IL 60626

The crown:  the symbol of ultimate power and the goal of one of Shakespeare’s most extravagantly charming (and despicable) creations, Richard of Gloucester. As literature’s most infamous outcast seduces and bludgeons his way to power, who is complicit? Both a mesmerizing look at history and a mirror to our own turbulent times, RICHARD III stands as one of the Bard’s most indelibly entertaining, viscerally shocking dissections of the unholy marriage of greed and complacency.

ABOUT PROMETHEAN THEATRE ENSEMBLE

Promethean Theatre Ensemble produces and develops ensemble-focused theatre with vibrant language in dynamic and purposeful storytelling. We select a service organization to support and promote with each production, bridging ideas within the play to real-world efforts to address challenges within our communities. Since its founding in 2005, Promethean has produced a body of work ranging from Shakespeare, 19th and 20th classics, and new work. The company was in the midst of its 14th season when the pandemic struck. RICHARD III is Promethean’s 33rd production.

OPENING: HAMLET Via The Gift Theatre 6/1-7/29/18

Chi IL Live Shows On Our Radar:

The Gift Theatre 

HAMLET

By William Shakespeare

Directed by Guest Artist Monty Cole

June 1 – July 29, 2018

Here at ChiIL Live Shows, we've long been big fans of Gift Theatre's little space. They're outliers from all the cities various theatre districts, but well worth the trek to Jefferson Park on Chicago's northwest side. They've made a go of it for 17 seasons, with intimate, excellent, and award winning productions. Gift often likes to play vertically with multilayered shows, physically and mentally. We're eager to catch their take on Hamlet.

The Gift Theatre is pleased to announce casting for William Shakespeare’s HAMLET, directed by guest artist Monty Cole. The Gift’s production of the Bard’s great tragedy will crack open the mind of one of western drama's most fascinating and complex characters. 

The cast of The Gift Theatre’s HAMLET includes (top, l to r) John Kelly Connolly, Robert Cornelius, Shanésia Davis, Gregory Fenner and Daniel Kyri (bottom, l to r) Martel Manning, Casey Morris, Jake Szczepaniak, Hannah Toriumi and Netta Walker.

HAMLET will feature Daniel Kyri as Hamlet with Gift ensemble members John Kelly Connolly* as Claudius, Gregory Fenner* as Laertes, Martel Manning* as Guildenstern and Hannah Toriumi* as Rosencrantz, and guest artists Robert Cornelius as Ghost/Polonius, Shanésia Davis as Gertrude, Casey Morris as Horatio, Jake Szczepaniak as Fortinbras/Marcellus/Gravedigger and Netta Walker as Ophelia.

HAMLET will play June 1 – July 29, 2018 at 4802 N. Milwaukee Ave. in Chicago’s Jefferson Park neighborhood. Single tickets and season subscriptions are currently available by calling the Gift’s box office at 773-283-7071 or visiting thegifttheatre.org. The press opening is Thursday, June 7 at 7:30 pm

After the death of his dad, a young black man named Hamlet returns home to grieve and seek revenge. Fighting against the injustice of his father's murder and the powers that want him out of the picture, Hamlet quickly loses power and sanity. 

Director Monty Cole comments, “Over the last year, this script has only become more personal to me and my production team. What makes this Hamlet unique isn’t necessarily “a new spin” from me but rather a process of personalization from incredibly respected Chicago artists working to make this 400 year old story feel prescient.”

Artistic Director Michael Patrick Thornton adds, “Experiencing Shakespeare at The Gift is electrifying. In our intimate space, we can deliver performances that mirror Hamlet’s advice to the players: stripped-down, clear, lyrical, and conversational. To be mere feet away from Hamlet’s heartache and blazing mind would be gift enough; with the colossal talents of these artists, our HAMLET will be one for the ages.”

The production team for HAMLET includes: William Boles (scenic design), Samantha Jones (costume design) Claire Chrzan and Michelle Benda (lighting design) Jeffery Levin (sound design) and Michael Petersen, Ph.D. (dramaturg).  

Location: The Gift Theatre, 4802 N. Milwaukee Ave., Chicago
Dates: Previews: Friday, June 1 at 7:30 pm, Saturday, June 2 at 7:30 pm, Sunday, June 3 at 2:30 pm and Wednesday, June 6 at 7:30 pm
Press openings: Thursday, June 7 at 7:30 pm
Regular run: Friday, June 8 – Sunday, July 29, 2018
Curtain Times: Thursdays and Fridays at 7:30 pm; Saturdays at 3:30 pm & 7:30 pm; Sundays at 2:30 pm. Please note: there will not be a 3:30 pm performance on Saturday, June 9.

Tickets: Previews $25. Regular run $35 – $40. Single and season subscriptions are currently available by calling the Gift’s box office at 773-283-7071 or visiting thegifttheatre.org.

*Denotes Gift Theatre ensemble member

About the Director
Monty Cole is a director based in Chicago and Los Angeles. Cole has directed for The Goodman Theatre, Victory Gardens Theater, American Theatre Company, Definition Theater Company/ALTA, The House Theatre of Chicago, the Chicago Theater Marathon, California Institute of the Arts and others. Cole directed the critically acclaimed and Jeff Award winning production of The Hairy Ape for Oracle Productions. Monty is working with collaborator and choreographer Breon Arzell on revitalizing In Dahomey, the first black written and performed Broadway musical from 1903 for the Center for New Performance. Recently, he directed Kiss by Guillermo Calderon at the California Institute of the Arts where he is currently an MFA2 Directing candidate.

About The Gift Theatre
The Gift’s 17th season consists of Stacy Osei-Kuffour’s world premiere of Hang Man, directed by Jess McLeod (March 2 – April 29, 2018); Shakespeare’s Hamlet, directed by Monty Cole (June 1 – July 29, 2018); and the Midwest premiere of Tony Award-winning playwright and ensemble member David Rabe’s Cosmologies, directed by Artistic Director Michael Patrick Thornton (October 12 –December 9, 2018). The Gift subscribers ("Gifters") receive admission to three shows, free parking at Gale Street Inn, free admission to all Wednesday night “Natural Gas” improv shows and invitations to special subscriber-only special events. Subscribe at thegifttheatre.org or by calling (773) 283-7071.