Overseeing a $200 billion company merger was supposed to be the best day of Jerry’s life. But when he walks in on his wife of 30 years having sex with a mysterious younger man, his elated mood plummets quickly. 

This is the beginning of Chicago Shakespeare Theater’s “Fault,” a play that questions how honesty, betrayal and career aspirations impact marital success. Written by Emmy-nominated Scooter Pietsch and directed by Emmy and Tony winner Jason Alexander, the play’s world premiere is April 18 through May 24. 

Though overall a frustratingly slow burn, the story’s juicy premise and unexpected twists caught my attention hook, line and sinker. 

In a fit of rage, Jerry (Enrico Colantoni) handcuffs homewrecker Shaun (Nick Marini) to a chair. He and Lucy (Rebecca Spence) offer Shaun $1 million to decide who is at fault for their dysfunctional relationship — hence, the play’s title. 

“Fault” is intimate in more ways than one. Featuring only three characters and entirely set in Jerry and Lucy’s living room, the cast compensated for the lack of visual action with excellent physical performances. Colantoni spearheaded the physicality literally, waving a collectable sword in front of Marini’s face and repeatedly chasing him around the stage.

Uneven pacing was one of the show’s few setbacks. Even after the premise is established, the story meanders around a good portion of its 90-minute run time. Jerry declares that he will tell his side of the story to Shaun, but instead goes on several uneventful tangents, including one praising the c-word. While this choice was probably meant to set up greater payoffs, it tarnished my impression of the play’s writing.

Lucy’s monologue quieted my skepticism. 

As it turns out, the day was set up to be the best of Lucy’s life, too. In recounting how it went awry, Spence poignantly portrays the discomfort and anguish of coming to terms with aging. Her vulnerability grounds the story’s ridiculousness and propels her castmates to open up as well. 

I appreciated the way the play framed the concept of partnership. While Jerry and Lucy aren’t very likable characters and call out each others’ unethical actions time and again, they also function as a team. At one point, Jerry describes Lucy as a “glint of optimism and admiration that saves you from thinking life just wasn’t worth it.” 

Colantoni and Spence communicated this dynamic through body language as well as dialogue. Whether fiercely arguing or sharing compassionate moments, the two move in tandem, signaling their decades-long chemistry to the audience. 

The play sprints to the finish line with a series of reveals that perfectly mixed emotion and absurdity. I left the theater amused, surprised and thoroughly entertained. 

“Fault” unflinchingly acknowledges the complexity of marriage, and while it could be more evenly paced, I was impressed by its risk-taking. I highly recommend checking it out, although it may provoke you to confess some things to your partner. 

If you pass up the opportunity to see “Fault” before it leaves Chicago Shakespeare Theater, don’t blame me!

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