When the orders came for the theaters to close right at the start of the spring season, Theater Wit was the first to forge a contract with Actors Equity for permission to live-stream their production of Michael Lew's inventive dissertation on Shakespeare's Richard III. while adhering as closely as possible to the communal imperative at the foundation of theater itself. What this means is that after receiving your password just before curtain time, you will be virtual-escorted by Theater Wit's Artistic Director himself through the lobby—the bar is closed, alas—to your row in the 98-seat auditorium. Among your fellow theatergoers (playing the all-important role of "audience") you might spot critics for the Reader and Sun-Times. Oh, and there's a post-show discussion conducted via conference-call technology. Go ahead and stay—it's not like the parking meter's gonna expire. There's plenty to discuss, too. Author Lew has fashioned from the premise and personnel of the familiar classroom classic, with its equating of a twisted body with a twisted soul, an excoriative analysis of social bigotry, stereotyping, bullying, female objectification and the futility of taking the long view. Our Richard's affliction with cerebral palsy and the hostility inflicted upon him by his peers at Roseland High School propels him to adopt Macchiavellian tactics in his quest to become school president—desperate measures that result in disappointment, disillusionment, betrayal and two actual deaths. His final words, however, are a rebuke to those who first branded him a villain, yet now feign surprise when their prophesy is fulfilled. Appearing before the cameras a week before their scheduled opening, the ensemble—led by MacGregor Arney and Courtney Rikki Green lending Richard and Anne an emotional depth (and a spectacular "Shut Up and Dance" turn, choreographed by Jake Ganzer) suggesting that tragedy might have been averted—deliver performances showcasing Lew's insightful analogies and time-traveling dialogue under the wise direction of Brian Balcom. Fifty percent of the ticket sales precipitating the show's recent extension are reported to be generated by patrons from out-of-town, state or country. Make your reservations now.
