Review: Gift Theatre's High-Tech RICHARD III Reaches New Heights

The title character's opening soliloquy ("Now is the winter of our discontent...") sets the tone for the despicable acts to come in William Shakespeare's "RICHARD III," but it is a later scene in The Gift Theatre's version that packs the biggest punch.

It is when the future King Richard (Michael Patrick Thornton) seduces Lady Anne (Olivia Cygan) by rising up from his wheelchair and luring her into the physical space between himself and the walker that holds him upright. She never touches him, though the space, made precariously intimate by Richard's strength of focus, traps her until she succumbs to his persuasion. From here on, we see the Machiavellian machinations unfold -- sometimes to great effect, sometimes confusing -- until Richard's bitter demise.

Thornton, artistic director and co-founder of The Gift Theatre, forgoes the usual hunchbacked, limping, feeble-armed Richard for a man impaired only by his weakened legs, a disability shared by the actor himself. (Thornton suffered two spinal strokes in 2003, causing incomplete paralysis. With extensive help from the Rehabilitation Institute of Chicago, he painstakingly relearned how to move and talk.)

Post-intermission, Richard is on his feet again, this time with the aid of a ReWalk robotic exoskeleton provided by the RIC, which partners with The Gift for this production. Two physical therapists, Kristen Hohl and Kate Scanlan have even become part of the production, cast as Richard's aides who help to operate the ReWalk during the pivotal coronation scene, where Richard's glee is palpable as he now towers over his subjects rather than looking up at them from his chair. Director Jessica Thebus gets high marks for making sure the technical aspects are not a distraction.

Sully Ratke's costume design is spare and efficient, with its black/white/gray palette. There is not much to distinguish one character from the next, especially among the men, who all sport buzz cuts and beards. Both the men and women are barefoot and wear white, ruffled collars and dangling pearl earrings throughout. It makes for a sleek uniformity but sometimes to a fault. One character dies and then the actor resurfaces as someone new, sometimes in the very next scene. If you're unfamiliar with the text, it can become confusing.

A clever device used throughout, however, is Richard's control of the narrative, which can help the confused get their bearings. He stops and restarts the action at will, addressing the audience in a way that makes you almost want to root for him.

Aside from Thornton and Cygan, other standouts include: Shanesia Davis, whose mesmerizing Margaret adds a fiery energy to the stage; Martel Manning and Jay Worthington adding some comic relief as the two murderers; Jenny Avery as the woeful Elizabeth; and Keith Neagle as Buckingham, whose exchanges with Richard are the most riveting onstage.

Kudos also to sound designers Kevin O'Donnell and Aaron Stephenson. If the Bard's words were not enough, the evil surrounding Richard is signaled at the start of the show by a single, low note, later repeated to remind us of the ever-present menace that is Richard III.

The Gift Theatre's "RICHARD III" continues through May 1 at the Steppenwolf Garage, 1624 N. Halsted. Show times are 8 p.m. Thursday-Saturday, 3:30 p.m. Saturday-Sunday. Running time is 2 hours, 35 minutes, with one intermission. For tickets, $15-$50, call (312) 335-1650, thegifttheatre.org or steppenwolf.org.

Photo credit: Claire Demos

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