Macbeth
Macbeth By William Shakespeare
Directed by Jim Helsinger
Starring Ian Bedford, Jean Tafler, Paul Bernardo, Anne Herring
Orlando Shakespeare Theater, Orlando, FL.</strong>
In the murky darkness of medieval Scotland, an ominous drip, drip, drip of fluid failing from a spiked ceiling recalls an avant-garde East German art installation just before the chaos of Communism’s collapse. As the lights dim, a knife cuts through the blooded canvas center stage, releasing wraiths that climb like ants out of the womb of a wounded world. Macbeth (Bedford) won a great victory, and the wraiths predict further glories for he and Banquo (Bernardo). Hard years of study warn us: spirit predictions always carry a twist ending, and these are no exception. While Macbeths victories are as great a career move as you would want in one step, his ambitious wife Lady M (Tafler) wants more, and talks him into murdering King Duncan (Steer Patterson), claiming the throne, and ultimately falling to the hubris required of all great tragic heroes. If nothing else, be warned that a trip to the palm reader can be a shortcut to hell.
Spectacle rules the show, with costumes reminiscent of a Norwegian heavy metal band, enough smoke and fog to set off the smoke alarm, and an imaginative Theater in the Round staging. Things moved quickly in the first act up to the Dagger of the Mind speech, and then seems to slow down. As so often happen in this play, I’m never really convinced about Macbeth decision to turn on Duncan, it always seems forced and not completely justified. Bedford’s tattooed Macbeth seemed less the fearless warrior than a fickle opportunist once he returned home where Lady Macbeth seemed to have an unnatural control over him. Her big speech about blood spots seemed rushed, and while she might be ambitious, psycho, or just bored, I’m never convinced she could convince her hubby to act so badly. I enjoyed Banquo (Bernardo), both alive and as a ghost, as well as Mac Duff (Paul Zivot), Siward (Bob Dolan) and all the assorted Thanes wandering the set. Anne Herring’s twin roles as Macbeth’s house keeper and Hecate, Queen of the Underworld, were delightful and necessary to break the darkness of this story of betrayal and blood.
Despite any story flaws, this is a great production of one of Shakespeare’s most accessible plays. The sets and lighting of Bert Scott and Bob Phillips stun, the cast well chosen, and the use of space innovative and surprising. And if the witches are tricksters and deceivers, they dance beautifully – if you’re going to Hell anyway, might as well to ride along with them.
For more information on Orlando Shakespeare Theater, visit http://www.orlandoshakes.org
