EXTENDED Thru June 14th “Sense and Sensibility” (Chicago Shakes): Lovely just lovely!

CST_SENSE_05_LizLaurenChicago Shakespeare Theater presents the world premiere of SENSE AND SENSIBILITY, a musical adaptation.

I was giddy to see this new commissioned work by Chicago Shakes.  I’m a huge fan of Jane Austen’s book.  I’ve seen the film version of the novel, with Emma Thompson, Hugh Grant and Kate Winslet, multiple times.  And with spring trying to lift Chicago’s chilled spirits, I was in the mood for a rom-com set to music.  My high expectations were rewarded with a production that I’d described in three words… lovely just lovely!

In the middle of the stage, Scenic Designer Kevin Depinet has fashioned a massive, metal structure.  It whimsically curves into the ceiling and resembles a winding staircase or a musical note.  Lighting Designer Don Holder sets the tone for the scene.  He uses golden hues for prosperity and muted blues and grays for sadness.  The simplistic aesthetic gives the story plenty of space to evolve.  And Austen’s character driven classic needs the room…it’s full of personalities.

Tony Award nominated Paul Gordon adapts Austen’s masterpiece of two sisters forced out of their childhood home by 19th century inheritance laws.  The impulsive Megan McGinnis (Marianne) and the practical Sharon Rietkerk (Elinor) navigate an uncertain future in true sisterhood.  McGinnis and Rietkerk’s relationship is at the core of this tale. Although theirs is a sisterly love story that has deep roots, their secrets about romantic entanglements go unshared.  Privacy is respected with strangers and with family. (The concept is a weird contrast to modern day sensibilities.)

The sisters bring the heart whether it’s on a sleeve or behind a façade. And they are indeed opposite. McGinnis spontaneous blurts out, “How can you eat at a time like this?  Are there muffins?” Without hesitation, she delivers the dramatic and comedic moment as a whirlwind force.  Rietkerk, on the other hand, plays it with perfect steadfast decorum.  Whether she is reproaching her sister or telling someone off, Rietkerk does it with unnerving quiet strength.  The sisters have one major similarity.  They are completely devoted to each other’s happiness.  In a musical with plenty of men to swoon over, McGinnis and Rietkerk’s relationship is the true illustration of unconditional love.

Under the masterful direction of Barbara Gaines, the ensemble flirt and zing with equal zest.  The old-fashioned ideals are riddled with biting remarks. The comedy comes sophisticatedly wrapped in pretty paper and trimmed in lace. The continual responses to heartbreak could become almost telenovela but Gaines holds the reins with white gloves.  Her talented cast react in polite containment or with droll jabs of self-deprecation. For such a familiar and traditional story, the play is peppered with the unexpected. Gordon’s script balances the formality of the era with an underlying passion.  His dialogue is crisp and witty.  People are addressed with proper dignity as Miss Dashwood or Mr. Ferrars. Gordon’s songs are the moments of stirring emotion where the character sings unspoken desire about a true love.  And the solos are emotional with pledges of love to Marianne, Elinor, or Edward. The intimate references, using the first names, go unheard by the target of affection.  No one knows for certain who loves who.  And they refuse to ask for fear of prying. McGinnis and Rietkerk and later Wayne Wilcox (Edward) and Rietkerk sing Somewhere in Silence, the ultimate ballad to secret love.

All the undisclosed love secrets provide plenty of comedic opportunities.  In The Visit, a surprised Wilcox hysterically fumbles through juggling his women.  Wilcox sings “Ladies, ladies” trying to muster up the courage to face up to his deceit.  My favorite part of the song is Rietkerk looking subtly amused at his flustered discomfort.  The other gents have varying success with the ladies. McGinnis and the audience immediately fall for the dashing Peter Saide (Willoughby) in his finely-tuned seductive ways.  Sean Allan Krill (Brandon) is more of an acquired taste.  He initially plays it reserved and aloof.  And then, the feisty Paula Scrofano (Mrs. Jennings) makes fun of him for being over-the-hill.  Krill owns it in the powerful and hilarious showstopper, Wrong Side of Five and Thirty.  The square-jawed Krill is not only the ultimate hero, he delivers one liners with comedy gold timing.

Want to fall in love this spring?  SENSE AND SENSIBILITY will sweep you off your feet. It is an elegant rom-com.  Instead of a catchy soundtrack, it has a soulful melody performed by an orchestra (music direction by Laura Bergquist).  All the characters have depth and personality.  And the ending will win over even the love-challenged curmudgeons amongst us.  It is… lovely just lovely!      

Running Time:  Two hours and forty-five minutes includes an intermission

At Chicago Shakespeare Theater on Navy Pier, 800 E. Grand

Based on the novel by Jane Austen

Book, music, and lyrics by Paul Gordon

Developed with Rick Boynton

Directed by Barbara Gaines

Music direction by Laura Bergquist

Wednesdays at 1pm and 7:30pm

Tuesdays, Thursdays, Fridays at 7:30pm

Saturdays at 3pm and 8pm

Sundays at 2pm and 6:30pm

EXTENDED Thru June 14th

Buy Tickets at www.chicagoshakes.com

 

Production photo by Liz Lauren

 

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