“Henry IV”
Written by Luigi Pirandello
Showing: Halcyon Theatre at the Peter Jones Gallery, 1806 W. Cuyler, second floor, through June 7
Tickets: $10-$15
Contact: (312) 458-9170; halcyontheatre.org

By Brian Kirst

Contributing writer

It is rare that a show with dense verbosity and classic, tangled plotlines is able to accurately reflect contemporary existence, but such is the case with Halcyon Theatre’s vibrant production of Luigi Pirandello’s “Henry IV.” As adapted by Tony Adams, this production allows us to examine the often absurd power of the wealthy, the church and medical officials. Most importantly, in its title character, we are able to remind ourselves of the multiple ways in which we all try to avoid bleak day-to-day realities.

Twenty years after a nobleman’s fall resulted in his living a delusional life as medieval German emperor King Henry IV, the primary participants of the event return and attempt to shock him back into reality. Under the guise of a dead mother’s final wish, a passionate (if misguided) doctor leads the group through a series of scenarios that are quickly undermined by the passionate nobleman-king. Buffeted by a group of live-in actors who comprise his imagined court, we soon begin to wonder if the intended target is truly insane or just merely seeking his own kind of revenge on the former acquaintances who have wronged him.

At times confusing and a bit too ponderous, this mounting of “Henry IV” ultimately reveals itself to be a passionate, well-articulated production. As director, Adams’ love for the material is evident from the beginning moments. He imbues the opening scenario with a contemporary musicality, giving modern audiences a leeway into the difficult material at hand. Adams also, with the artful aid of Patricia J. Murphy, structures costumes that signify both the sweepingly medieval and the constrained contemporary eras of clothing utilized in the production. Adams’ set design also reveals itself to have multiple levels and shadings that illuminate the tale with generosity. Antonio Bruno’s pulsing techno-friendly score adds the appropriate level of tension and mirrors the misguided heroics and confused heart of the primary characters.

In retrospect, it is hard to signify whether the opening fight chorography is awkwardly staged on purpose or if it is just a minor slip in an otherwise smoothly rounded imagining. Additionally, there are some awkward patches of acting and overemphasized emoting, but these flaws may evaporate over multiple showings.

Overall, Adams has comprised a cast of passion and skill. Even Nick Staten, playing a mostly silent valet, makes a favorable impression. Every thought and reaction of his supporting character registers with ease and true emotion, proving that Staten is a performer to watch out for. As Henry IV, James Allen resonates with passionate shrewdness and hammer-hard comic edge. He is ably supported by energetic Scott Allen Luke as Landolph, his primary conspirator. Luke beguiles with magnificent playfulness and earns audience sympathy with his ultimately supportive confusedness. Denise Santomauro provides some refreshing feminine petulance as a sassy, multi-leveled descendant of the original reveling transgressors. She is well matched by Greg Polijacik as her supportive, loving counterpart, Charles DiNolli. It is Petrucia Finkler as Matilda and Eric Lee as the doctor who imbue this production with the freshest take on Adams’ vision, though. Their unique artistry is equal to Adams’ productiveness and then some. They practically carry the show away on their very industrious shoulders.