Lis Athas, Jeremy Mahr, Chelsea Ward, Travis Meier, and Tyler Henning in Much Ado About Nothing

Lighting, of course, can do a lot for a show, and Genesius Guild’s presentation of Much Ado About Nothing boasts a lovely, understated elegance – particularly in the twilight scenes – that’s much to the credit of designers Maaz Ahmed and Andy Shearouse. But at July 23’s Lincoln Park performance, it wouldn’t have been out of place for the duo’s mention in the program to come with an amendment: “... and special contributions by God Himself.” It turns out that lightning, too, can do a lot for a show.

Sarah Ade Wallace and Todd Schwartz in MacbethBefore Saturday's opening-night presentation, executive director Doug Tschopp took the stage for Genesius Guild's traditional pre-show announcements and T-shirt giveaway, and kindly asked the crowd for continued financial support, especially given the organization's decreased support since 2008 from the State of Illinois. Not to make light of a very real monetary concern, but I wish power players from Nike had been there for Tschopp's request. Because after seeing Macbeth, they might've happily handed over a check, considering the motto for everyone involved in director Michael King's inspiriting production appeared to be the same: "Just do it."

Amanda Wales, Michael King, and Andy Curtiss in Measure for MeasureThree hours goes by quite quickly during Genesius Guild's well-paced, oftentimes hilarious production of William Shakespeare's Measure for Measure. While the piece is considered a "problem play," as the script defies the expectations of a traditional comedy, director Jeff Coussens highlights the work's ample amounts of humor, particularly in the production's first half. And with Coussens and his cast punching up every punchline through inflection and a sort of "nudge-nudge, wink-wink" attitude, I ended up laughing harder at Saturday's presentation, I believe, than I've ever laughed while watching a Shakespeare performance.

Pat Flaherty and Jessica Denney in Mr. MarmaladeNew Ground Theatre's current offering, Mr. Marmalade, is about four-year-old Lucy and her imaginary friends. Suicidal, coke-snorting, physically and mentally abusive imaginary friends. And it's incredibly funny. One particularly dark scene during Thursday's performance, in fact, had me laughing so hard, for so long, that I was wiping away tears by the end of it.

James Alt and Pat Flaherty in King LearThere may be some of you who hear the title King Lear and, knowing only of the play's reputation as the mack daddy of all Shakespeare tragedies, immediately presume that any evening production of the piece will last well into the next morning. Allow me, then, to quell your fears: Saturday's Genesius Guild staging of the Bard's opus began promptly at eight o'clock, and after the night's presentation had concluded, I was back in my car by 10:55.

Pat Flaherty in King Lear"I think it came from going to church," says area actor Pat Flaherty of his childhood interest in theatre. "Because I'd go to church, and I'd see this guy who was holding everybody's interest through the whole service. It was very dramatic - they'd light the candles and ring the bells and everything - and for a while I thought I wanted to be a priest because of that.

"It turned out I just wanted to be on stage."

Genesius Guild's Richard III is not what I expected. I sat down for Sunday night's Lincoln Park performance anticipating a well-done, respectfully somber production - something along the lines of a group oration with limited movement. What I saw instead was a dynamic show filled with remarkable performances and clever staging, and delivered with proper respect for the material.

 

Michael King as Richard III in 2009's King Henry VI: Richard, Duke of YorkIf you're familiar with local theatre, you're likely familiar with the work of Michael King, whose area credits include performances for the Playcrafters Barn Theatre, the Prenzie Players, the Harrison Hilltop Theatre, (the now-defunct) Ghostlight Theatre, the Circa '21 Dinner Playhouse, and - in numerous productions over the past five years - Rock Island's classical-theatre organization Genesius Guild.

Yet as King explains (with a laugh), if you've seen him anywhere on stage, you've likely seen him at his best.

"I suck at real life," says King, who turns 40 on July 7. "I do. You know, I make appointments and I miss 'em, I'm late with bills ... . Everything. But on stage, I'm able to be me.

Phillip Tunnicliff and Jacob Lyon in Henry the Sixth: Richard, Duke of YorkMichael King has appeared in so many Genesius Guild productions, and has delivered such consistently outstanding performances, that it's easy to take the actor/director's copious talents for granted. Yet the experience of watching him as the scheming Richard III in the Guild's Henry the Sixth: Richard, Duke of York - the concluding half of director Don Wooten's two-part presentation of Henry plays - is so startling, exhilarating, and fresh that it's almost as though you're seeing the actor for the very first time. Stage work as profoundly inspired as King's is a night of unforgettable theatre unto itself. Then again, very little about this production isn't a thrill.

Grace Pheiffer and Andy Curtiss in Henry the Sixth: The ContentionEven if you didn't know that Genesius Guild's Henry the Sixth: The Contention was an amalgamation of Shakespeare's Henry VI: Parts I and II - with Part III opening on July 17 - and didn't know that the production was directed and adapted by Guild founder Don Wooten, it's likely that your first glimpse at the program would be enough to intimidate you.

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