Henry VIII
And even in Barbara Gaines’s wryly psychological new mounting, now gracing the stages of Chicago Shakespeare, history itself seems set to the tune of a courtly courante, proceeding with a definite lightness of step and airy acquiescence to the sizable pathos of its victims. Draping itself in nothing so heavy as lush fabrics of lavender and crimson, this gorgeous new production manages to be an intensely well-observed psychodrama on the nature of political ambition while never losing its underlying operatic registers.
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