It is known as “The Scottish play,” “Mackers,” “The Scottish business” or “the Glamis comedy.” With a play where so few are willing to utter its name, you would think that it would remain buried under the Bard’s lesser known works. But “Macbeth” is more popular than ever, with adaptations like Sleep No More re-imagining the tale in a 6 story warehouse to Alan Cumming’s recent one-man-show, a decent into madness set in an insane asylum. And still companies are able to find new ways of telling Mac’s universal story of greed and guilt – one of which is CityShakes undeniably unsettling production here in Santa Monica.
Director Brooke Bishop sets the show in the round, emphasizing the show’s ceremonial roots – from the ever-plotting witches to the individuals who ban together to unseat Macbeth from his newly-found power. The production’s site-specific location, a storage garage behind a stark empty art gallery, also aids in the creation of an ominous air surrounding the text.
Smartly constructed with a cast of seven, perhaps the most compelling aspect of the production is the use of suggestion. Swords have bases, but no blades. Children tinker with toys offstage, but are never seen. These powerful “absences” both underline the swift decline of Macbeth’s sanity (particularly in his “Is this a dagger” soliloquy), and make Macduff’s loss all the more heartbreaking. It also featured some truly thrilling cast-made auditory soundscapes that could have highlighted other earlier moments as well.
A ceremony that shouldn’t be missed, this Macbeth breathes life into the age-old text with its crafty ways.
To see it: “Macbeth” plays Thursdays and Fridays at 8 pm through Nov. 22, and Saturdays Nov. 9 and 16 at 8PM, at 1454 Lincoln Boulevard, Santa Monica, CA 90401. For more information, visit www.CityShakes.org.
Don’t have a traditional theatre on hand? More and more groups seem to be saying “that’s alright, we’ll make do” and seeking out alternative theatre spaces. And I have to say, I love this trend. A production of The Tempest staged steps away from the ocean, Halloween-themed shows performed in a cemetery, even promenade plays that invite audiences to walk along the streets of a town and experience a theatrical event in an incredibly immersive fashion. A notable example is the NYC production, Sleep No More, which took a few abandoned warehouses and created “the McKintrick Hotel,” a 1930s setting for a multi-story recreation of MacBeth. Audience members don masks and follow the action of not only the Shakespeare original, but also what precedes and follows the story of Mac as we know it.
An immaculate amount of detail, room after room of embellishments and the result? A macabre and innovative manner of storytelling that invites the audience to be a part of its unsettling nature.