Overblown and distracting
Review by Lauren Whalen
When a play's director has a long program note and an even longer bio, it usually doesn't bode well. This is the case for Theatre Y's Macbeth , directed by French actor Georges Bigot and developed over a year-long workshop process. (Roles were only assigned three months ago.) Shakespeare's text is still intact, but its interpretation is
Everyone knows the story from high school English class: ambitious soldier egged on by even more ambitious wife to kill his way to the top, only to end up in ruins. When done right, is one of Shakespeare's most resonant plays and feels most relevant during especially nasty election years. Like most Shakespeare plays, doesn't need a lot of bells and whistles to be effective. The power is in the language and the characters: the murderous couple, the innocent sons of the dead king, the loyal friend and the one who finally figures it out and refuses to back down. Provided the actors are skilled and the director is qualified, can be performed in an alley and still be a memorable, haunting night of theater.
I wish someone had conveyed the above to Theatre Y's actors, and more significantly, director Bigot. This brings to mind the abysmal 2007 Australian film version, which attempted to modernize the play (mainly with bare breasts and horror movie levels of bloodshed) with disastrous results. Bigot's director's note speaks of lofty goals including "theatre in the Public Service." I'm not sure what public service can be gleaned from this . I had the distinct feeling that I was supposed to find this production innovative and different from other Macbeths I've seen. In truth, Polarity Ensemble Theatre's production also used a live drum at key moments. So too have many productions (and the 2007 film) cast young, nubile women as the three witches. The director also chose to add completely unnecessary dance numbers - including Lady Macbeth gyrating rather bizarrely to "Que Sera Sera" - that not only detract from the text but also add to an already bloated running time.
The cast ranges from unmemorable to completely out of place. Perhaps the most confusing choice is Katie Stimpson as Lady Macbeth, an iconic character and Holy Grail for actors. Stimpson doesn't have the gusto, the naked nastiness, or any of the conniving characteristics that make Lady Macbeth so wickedly memorable. Other than palpable chemistry with Brendan Mulhern's Macbeth, she brings nothing to the character at all, resembling a very pretty paper doll with none of the bite. Thankfully, Mulhem has a beautiful speaking voice and authoritative presence befitting the Thane of Cawdor, and his descent into madness is thoroughly believable. also has some nice moments as Macbeth's doomed friend Banquo, showing a superb command of the language.
One could argue that it's virtually impossible to do anything new with Shakespeare. I can't say that I agree. That said, any choices made on the part of the director, actor or design team must be justified as an enhancement of the text. Theatre Y's Macbeth borders on gimmicky, and almost cheapens Shakespeare's text. If only Bigot and company had stepped back a bit, lessened their hold, and tried a little less hard, this Scottish playcould have been weird, scary and most of all, effective.
continues through December 4th at Chopin Theatre, 1543 W. Division (map), with performances Thursdays-Saturdays at 7:30pm, Sundays 4pm. Tickets are $25, and are available online through TicketLeap.com (check for half-price tickets at Goldstar.com ). More information at Theatre-Y.com. (Running time: 2 hours 45 minutes, includes an intermission)
Photos by Devron Enarson
Hector Alvarez (Malcolm), (Banquo, Menteth), Tanner Bradshaw (Donalbain, Young Siward, Doctor, Murderer 3), Arch Harmon (Duncan, Old Siward, Old Man), Kevlyn Hayes (Witch 2, Lady Macduff), Jerome Hicks (Macduff), Melissa Lorraine (Witch 1), James McMullen (Ross), Brendan Mulhern (Macbeth), Jackie Richards (Fleance, Witch), Lorie Roberts (Witch 3, Porter, Dance Leader), Katie Sherman (Gentlewoman, Lord, Messenger), Daniel Shtivelberg (Soldier, Murderer 2, Menteth, Seyton), Katie Stimpson (Lady Macbeth), Kris Tori (Lenox, Messenger, Servant), Nick Wenz (Macduff's Son)
behind the scenes
Georges Bigot (director), John Reichenbach (stage manager), Robert Schneider (dramaturg), Julia Santha (assistant director), Michael Rathbun (lighting design), KG Price (sound editing), Branimira Ivanova (costume design), Devron Enarson (photographer)
Tags: 16-1038, Arch Harmon, Branimira Ivanova, Brendan Mulhern, Chicago Theater, Chopin Theatre, Cody Beyer, Daniel Shtivelberg, Devron Enarson, Georges Bigot, Hector Alvarez, Jackie Richards, James McMullen, Jerome Hicks, John Reichenbach, Julia Santha, Katie Sherman, Katie Stimpson, Kevlyn Hayes, KG Price, Kris Tori, Lauren Whalen, Lorie Roberts, Melissa Lorraine, Michael Rathbun, Nick Wenz, post, Robert Schneider, shakes400chi, Shakespeare 400 Chicago, Tanner Bradshaw, William Shakespeare
Category: Chopin Theatre, Lauren Whalen, Theatre Y, William Shakespeare