![\"sense_01_printwebtop\"](\"https:\/\/sduptownnews.com\/wp-content\/uploads\/2016\/07\/sense_01_printwebtop.jpg\")
<\/a>Set by CST Artistic Director Barbara Gaines in 1792, the era features Empire-waist gowns, waistcoats and breeches by costumer Susan E. Mickey, a light and airy scenic design by Kevin Depinet (much flying-in of windows and chandeliers), lighting by Donald Holder and sound design by Ray Nardelli \u2014 all easy on the eye if not flattering to the bust line. Harrison McEldowney (original production) and Matt Raftery provide choreography.<\/p>\n
As envisioned, the vile are villainous; the cads, despicable; the old people, adorably dotty and comedic; the ing\u00e9nues, beautiful; and the music, tuneful, tonal and bland. Whether solo, duet, trio or beyond, it has a sameness of style and execution quite suitable to the evenly matched company, who are as if cut from the same cloth vocally \u2014 the men are high baritones and the women sopranos. I must say, however, that the sisters achieve an admirable blend.<\/p>\n Never mind, too, that romantic poets Shelly and Keats (\u201cSo the Poets Say\u201d), whose books are so prized by the \u201csensibility\u201d sister (Marianne Dashwood, played Megan McGinnis), were born in 1792 and 1795 respectively. At least the company is uniformly attractive, there\u2019s a fine, 10-member union orchestra (led by Music Director Laura Bergquist at the piano) behind the scenes, and 20+ songs, the best of which is \u201cWrong Side of Five and Thirty.\u201d This, and another titled \u201cLydia,\u201d are sung by Colonel Brandon (appealing Sean Allan Krill), who considers himself too old to woo Marianne. She falls instead for the dashing Mr. Willoughby (Peter Saide), who is neither as available nor as wealthy as he seems.<\/p>\n<\/a>
(Photo by Liz Lauren, courtesy of Chicago Shakespeare Theater)<\/figcaption><\/figure>\n