No One Ever Wins

Fault

Chicago Shakespeare Theatre is celebrating The Bard’s birthday this April with 66 performances. The productions include FAULT, called “a wickedly dark new comedy,” and is a World Premiere that will have theatergoers talking for years to come. This edgy, energetic and profanity-filled and very adult 90-minute one-act is a definite departure from the typical, classical fare found on the Yard Stage.

After 30 years of marriage, Jerry and Lucy, an affluent, and upper middle class couple living on the Upper West side of New York, are finally facing off in a high stakes battle of the sexes. The argument erupts, fueled by decades of lies and betrayals, but ignited when Jerry arrives home unexpectedly. He walks into the couple’s posh apartment, filled with some great news. But  Jerry’s announcement is instantly put on hold. Instead of sharing his exciting achievement, Jerry find his wife in the throes of flagrante delicto with a stranger. Earlier, Lucy returned to the apartment with Shaun, a handsome young man she picked up at a local bar. Thinking they’d be alone for hours, because Jerry usually comes home late, Lucy feels secure that their wild lovemaking will be uninterrupted. But when Jerry surprises the couple, the fireworks begin and, as we soon learn, no one ever wins an argument.

Written with sharp wit, unbridled passion and all kinds of adult humor, playwright, novelist and Emmy-nominated composer Scooter Pietsch (LONDON UNDONE, THE SWEATER CURSE) has chosen Chicago Shakespeare Theatre for his World Premiere. Actor/director Jason Alexander (“Seinfeld,” MERRILY WE ROLL ALONG, JUDGEMENT DAY) returns once again to the Chicago Shakes, this time as the director of Pietsch’s latest play. Four years ago Jason directed the playwright’s WINDFALL in New York, so he’s quite familiar with the Pietsch’s style of writing and his searing, straightforward brand of humor. Mr. Alexander’s potent, powerful production of FAULT definitely does Scooter Pietsch proud.

The cast couldn’t be better, despite a last-minute replacement in one of the three roles. Teri Hatcher, best-known for her portrayal of Lois Lane on the television series, “Lois & Clark,” as well as the role of Susan Mayer on “Desperate Housewives,” was originally cast in the female lead. In early April, however, Ms. Hatcher decided to step away from the production. Rebecca Spence, one of Chicago’s finest actresses, immediately stepped into the role of Lucy. And she is absolutely magnificent.

Ms. Spence (“The Madison,”on Paramount+) recently appeared at the Court Theatre as Kristine, in MISS JULIE, and earlier as the outspoken and powerful Queen Eleanor of Aquitaine, in THE LION IN WINTER. But in FAULT, Rebecca Spence is a standout. She’s simply brilliant. The seductive behavior, the scathing, sometimes sarcastic banter, the amused glances and snide side-eyed smirks, Ms. Spence uses in her portrayal—all add up to an astounding, dare I say, award-winning performance. I think somehow Rebecca Spence must have been who Scooter Pietsch envisioned when he was writing the role of Lucy. And for this reviewer, Rebecca Spence’s performance is one of the best reasons for seeing this new play. She is simply astounding!

Playing opposite Rebecca Spence, Enrico Colantoni is every inch her equal as Jerry Green. Known for his role as Principal Moretti in the FX sitcom, “English Teacher,” as well as portraying the hilarious Mathesar in the film, “Galaxy Quest,” Enrico Colantoni is a powerhouse of a player in this dark comedy. Indignant and deeply humiliated by his wife’s romantic rendezvous, Jerry is portrayed as a perceptive, powerful and parsimonious go-getter in the world of big business. He’s also a vindictive man, and he’s not about to let this incident pass without some kind of retribution or comeuppance. The character’s obsession with all things British results in Jerry’s brandishing a sword and producing a set of manacles when meting out punishment. And as Lucy and Jerry go head-to-head, reliving a series of uncomfortable scenarios from their turbulent  past, we witness a marriage that’s often reminiscent of George and Martha in Edward Albee’s WHO’S AFRAID OF VIRGINIA WOOF. 

The stranger in the mix is Shaun, nicely played by actor Nick Marini. Although this is Nick’s debut at  Chicago Shakespeare Theatre, he may be familiar to theatergoers who regularly watch NBC’s locally shot television series, “Chicago Med.” There he played a troubled sex worker, which no doubt gave the young actor some background for the theatrical role of Shaun. He also appeared on the sitcom, “Hit the Road,” coincidentally  with Jason Alexander. Here he plays Lucy’s a boy toy du jour. But as the evening evolves and Shaun ends stripped to his underwear, with a bloody nose and chained to chair, we begin to learn much more about this character. Following his crushing phone conversation with someone special in his life, the audience begins to empathize with Shaun, who we recognize as the victim of Jerry and Lucy’s personal folly.

In addition to Jason Alexander’s tight, perceptive direction of Scooter Pietsch’s new play, and the excellent, enjoyable and layered performances given by a trio of talented actors, there are a camaraderie of other theatrical artists who must be recognized. Certainly gifted Mara Blumenfeld’s lovely contemporary costumes are stunning and well-tailored. And talented lighting and sound designers, Greg Hofmann and Ray Nardelli, respectively, bring added layers of mood and atmosphere to the production. 

But it’s Paul Tate dePoo III, Broadway scenic designer supreme (Broadway’s THE GREAT GATSBY, SPAMALOT), whose breathtaking artistry takes away our breath upon entering the theater. Mr. dePoo’s talent, and his strategic, creative planning, blend the functional with the aesthetic in depicting the Green’s luxurious living room. So minutely-detailed, the set is painted a rich-looking muted blue, carpeted with Oriental rugs and dressed with expensive-looking paintings, tchotchkes and knick-knacks from all over the world. Through the large picture windows, theatergoers get a glittering glimpse of the lights of Manhattan. And the room with its fancy furnishings bespeaks the splendor and bottomless pocketbook of a couple who have no young children, but impeccably good taste.

This wickedly adult play will be the talk of every savvy theatergoer in Chicago. I’m not sure this show will go over well in small town America, but I can easily see Scooter Pietsch’s dark comedy becoming a hit with smart Broadway audiences, as well as metropolitan venues all over the country. It’s sharp, honest and filled with barbs of wit and wisdom that may be difficult to swallow. Directed by a shrewd theatrical artist, like Jason Alexander, and cast with top caliber actors, like this company, it wouldn’t surprise me to learn that FAULT will soon become an audience favorite everywhere. The unexpected humor and profound gravitas of how the playwright treats marriage, honesty and coming to terms with growing older, is an argument worth having but that no one ever wins.      

Highly Recommended

Reviewed by Colin Douglas

Presented April 18-May 24 by Chicago Shakespeare Theatre, in the Yard Theatre, 800 E. Grand Avenue on Navy Pier, Chicago.

Tickets are available at the CST box office, by calling 312.595.5600 or by going to www.chicagoshakes.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com