Through much toil and trouble, The Crones of Cawdor manages to muck up Macbeth and his lovely lady's afterlife. Only writer/director/producer Stephen Storc would think of turning a pot-stirring scene into musical comedy. The witches, I mean crones (Laura Makey, Charmaine Hook, and Candace Taylor McClung), under the guidance and direction of Hecate (Deborah Zimmer) seem to cause Macbeth (Robert Wolter) and Lady Macbeth (Karen Spafford) more trouble in death than this lovely couple caused others in life.
Set in the crones' cave with its many nooks and crannies for the storage of the ingredients for the perfect crones' brew, one feels almost claustrophobic. A huge cauldron sits center stage spewing out smoke that is non-hypoallergenic, bubbling and no doubt noxious. The crones and Hecate include all manner of ingredients certain to alter the world condition, or at least somebody's condition.
It should be noted here the program states that the costumes were provided by the cast. That being the case, one does worry about what the four do for a living. They wear black, tattered garments that appear to stay in one piece through sheer will power. With warts and all, these four are formidable. While creating their brew, they entertain us in song and dance with "Dark Spirits" and "Bit by Bit."
Macbeth and his fair lady have a much finer closet. He is regal, and she is absolutely stunning. They're much nicer dead than alive. Storc has created a lovely duet, "Death Becomes You" and "I'm Glad It's With You" proving that love rules even for these two. Spafford and Wolter's voices compliment each other. Laced with loving glances, they contrast nicely with the crazy crones.
The crones and Hecate end Act One with the derisive "What is a Man?", indicating that the male structure contains Pigs Eyes and Maggot Cake. No matter what the crones do, they can't seem to rid themselves of the evil couple, which is ruining the proper evilness of their habitat, opening the second act with "So Long, Good Luck, Get Out." Alas for them, it doesn't work.
Both lovely and amusing is the Macbeth's duet, "Love's Sweet Passion." It is pure, true love. Appropriately, the black-clad ones joined by the Macbeths end with a most appropriate number, "Things That Go Bump In The Night." Storc deconstructs Shakespeare with ease. He offers up enough of The Bard to see the words in a new light. This is a fun evening with a cast that is enjoying their performance.
My only slight problem is that Macbeth, who I realize must impress us all, is a bit loud for this intimate theater.
