Chicago Shakespeare Theater Artistic Director Edward Hall’s RICHARD III is a macabre — and messy — production with a commanding lead performance from Katy Sullivan. 

Hall has envisioned his RICHARD III as an homage to slasher horror films and a strange combination of ONE FLEW OVER THE CUCKOO’S NEST meets AMERICAN HORROR STORY: ASYLUM. Before the show even begins, masked actors (in creepy white gauze masks) wander through the theater, indicating this is RICHARD III as horror show. Yet set and costume designer Michael Pavelka notes in the program that these masked figures are meant to represent Richard’s inner psyche. Given that this production focuses heavily on aesthetics, gruesome images (think: one of Richard III’s victims meets their end with a literal chainsaw massacre — though it’s bloodless, with just red lights to indicate gore), and moments of shock value, I’m not sure this concept of interiority translates. Rather, this is an outsized production that relies on visual spectacle to communicate its points. 

While I’m not opposed to a horror-inspired RICHARD III, that setting is divorced from Sullivan’s take on the character. Sullivan is a compelling performer. Though her gleeful, petulant take on Richard III’s predilection for offering his enemies is a familiar one, she’s clearly having so much fun doing it — and Sullivan easily tangles audiences up in her web. Sullivan is an above-the-knee double amputee, and the production also explores that in interesting ways. In her first scene, Sullivan doesn’t wear any prosthetics. For the remainder of the show, we see her in a wheelchair that recalls the original Shakespearean era, as well as many different sets of prosthetics; Sullivan’s leg prosthetics become more ornate in line with Richard’s ascent to the throne. And in the climactic battle scene, she wears the prosthetics I imagine she wore for the Paralympics; ready for battle, indeed. 

While Sullivan’s arc as Richard is interesting to watch, it has little to do with the horror framework that overlays the rest of the production. Some of the horror visual tableaus also aren’t grounded in the piece; at one point, many of the central characters use giant syringes to draw their own blood…and then swap vials to drink. It’s baffling that Richard is so separate from her fellow ensemble members, except in that moment. The pacing is also off; the first 30 minutes or so move at warp speed, but I thought the second act dragged and could have used further cuts. 

While the concept is haphazard, Sullivan has capable performers by her side. Demetrios Troy is an excellent foil to Sullivan’s Richard as both King Edward IV and the Earl of Richmond; while Sullivan sneers and bites, Troy exudes calm and composure. It’s a terrific balance. Jessica Dean Turner is rightfully regal as Queen Elizabeth, Edward’s wife — though it was downright creepy watching her interact with the two plastic-y puppets meant to be her sons. Mo Shipley and Mark Bedard have great fun as Richard’s hired executioners, sent to off Richard’s brother Clarence (Scott Aiello, who performs a convincing descent into madness). While the idea of the foolish executioners isn’t new in the Shakespearean canon, Shipley and Bedard provide some Abbott and Costello-style slapstick that lightens the mood. Sean Fortunato sends up classic Shakespearen productions with his turn as Duchess of York, Richard III’s mother (He also plays Lord Rivers).  It might be obvious, but all the actors have great command of Shakespeare’s text; they have more contemporary deliveries but also find the richness in the material.

Overall, I think Hall’s vision for RICHARD III could benefit from streamlining, and the relationship between Richard III himself and the surrounding players didn’t cohere. The production needed to either lean into the concept of Richard’s interiority — or invite Richard directly into the slasher film massacre. 

RICHARD III runs through March 3, 2024, at the Courtyard Theater at Chicago Shakespeare Theater on Navy Pier, 800 East Grand Avenue. Visit chicagoshakes.com for tickets. 

Photo Credit: Liz Lauren 

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