Fault at Chicago Shakespeare thru May 24th

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A bit of Fault for a new Play that needs some work. Fault at Chicago Shakespeare - Review By: Paul Lisnek

**1/2 of 4

Fault, now on stage at Chicago Shakespeare Theater under the capable direction of Jason Alexander, feels like a sitcom pilot that hasn’t quite figured out its rhythm yet—full of recognizable setups, flashes of charm, and the lingering sense that something better could emerge with revisions. The most frustrating thing is that this script knows it can be better. It has the structure of a genuinely funny, character-driven play, and with some revisions, it will work and importantly be delivered by a cast that is quite capable of meeting its demands.

The premise has all the makings of a solid comedy: interpersonal conflict, exaggerated character personalities, and a plot that begs for increased misunderstandings. You can see the building blocks of a good sitcom in place—there are moments where the timing clicks, a line lands with punch, and the audience clearly is open to what could be offered, seemingly ready for more. But those moments are inconsistent, and the play struggles to sustain a momentum.

Jason Alexander’s direction leans into Seinfeld-like boldness, which works at times, but overall feels like it’s working with a script that hasn’t fully found its voice. The pacing is uneven, with short stretches that drag but then get followed by bursts of energy; somewhere in here is a stronger, tighter version of the show.

The cast brings professionalism and spark to material that doesn’t always meet them halfway. Enrico Colantoni, the most recognizable name in the lineup, delivers with his usual precision and dry wit, finding moments that cut through the broader tone. Rebecca Spence offers a grounded presence that stabilizes the too-exaggerated elements of the production; when she plays a reaction rather than push for a laugh, the show gets closer to the sharp comedy it seeks to be. Nick Marini leans fully into a heightened energy but at times seems repetitious as the script often returns to its familiar broad comedy.

As an ensemble, there is strong chemistry—particularly in the fast-paced moments where the actors play well off one another—but those moments aren’t consistent at least not enough to fully carry the show. At times, the performances appear constrained by the writing rather than being lifted by it.

Ultimately, Fault is certainly watchable but it is uneven: a production that seems more fit for a stage not quite at the level that Chicago Shakes is known to produce. On the bright side, the play if considered a work in progress, then it certainly has significant promise for a bright future.

Fault runs about 90 minutes without an intermission, through May 24th with tickets purchased at: www.ChicagoShakes.com