Playwright: Paul D'Andrea ( adapted from the original by G.E. Lessing )
At: Chicago Festival of the Arts at the Theatre Building,
1225 W. Belmont
Phone: ( 773 ) 548-8587;
$33-$40
Runs through: Dec. 31
BY RICK REED
Nathan the Wise, in the Chicago Festival of the Arts' inaugural production, has a lot to recommend it. Director Rachel Silverman effectively oversees this adaptation of G.E. Lessing's 18th century play, which was really a plea for tolerance and brotherhood, regardless of one's religion or creed. Silverman has pulled all the right elements together for a piece that is just as timely as when it was written, and that bears astonishing parallels between today's global turmoil and that of the Christian crusades, the period in which the play is set. Set ( by Linda Buchanan ) , sound ( Eric Reardon ) , lighting ( Lee Keenan ) , and costumes ( Debbie Baer ) all work in tandem to create a simple, practical, and elegant world that moves seamlessly from such diverse locations as a palace to a barren prison cell. Silverman was also fortunate to have an ensemble of great thespian artistry to create her characters, outstanding among them David Darlow ( as the reluctant leader, Nathan ) , Lisa Tejero ( as Sittah, sister of a Muslim Sultan, who comes across as both savvy, yet achingly vulnerable ) , Michael Fosberg ( a very genuine and humanistic Saladin, Muslim Sultan ) , and Susan Gosdick ( offering genuine comic relief as a Christian nursemaid ) . The only weak link in the cast was Scott Aiello as Al-Hafi, whose blatant hamminess prevents the production from being considered kosher.
Nathan the Wise is a wonderful story ( especially during the holidays ) and its message imparts real wisdom about unifying humankind above differences in religion and saying, basically, that we are all one race and should only strive, as one, to improve that race. The story has echoes of Shakespeare, with its wit, secrets, and final, satisfying resolution. D'Andrea's adaptation is a bit unwieldy and some of the modern language lacks elegance, but it's a suitable vehicle for Lessing's story. Although the first act drags a bit in setting up its characters and conflicts, the second act, by contrast, virtually sings, engrossing us in a life of death battle that eloquently makes a case for tolerance and understanding. Peace on earth, good will toward man…if you're looking for this age-old holiday message, there's not many better places to look than right here, with Nathan the Wise.