With its uncomplicated, fast-moving plot and theme (an ambitious desire for power and a killing obsession with keeping it), Macbethlends itself to a much-truncated version of the kind shown here. Still, it’s a potent drama, not lacking characterization, and well adapted to tour, especially to middle and higher schools in session.
In each of two troupes of six final year Acting Conservatory students (also new members of Asolo Rep Co.), all smoothly double, except the two couples playing, in turn, Macbeth and his Lady. The leads’ common trait is murderous brutality.
In the Sound cast, Jesse Dornan is an anti-hero always unsure of his grasp on power that will last, while Brittany Proia’s Lady Macbeth is cooler and confident, continually screwing his courage to the sticking point. The Fury couple, Joseph McGranaghan and Kelly Campbell, are sexier. Power turns them on.
Scenically, the bare bones production effectively uses chairs in various ways other than seats, such as to represent horses and places for spying or prodding ghosts. Poles become weapons, standard holders, trees.
Costumes--dark--suggest military, royalty, and characters who serve or are family. Lady Macbeth is always slinky in black, with a (symbolic?) fox fur in her queenly phase. Red gloves symbolize blood, often and well.
A song introduces each version of the play with words from it that constitute lyrics. Each is beautifully sung by Brittany Proia as Lady Macbeth, alternately as a member of the Ensemble by Erin Whitney. (A case of poetry atypically winning out over action.)
Soliloquies may be abbreviated or missing, but a great deal of text is spoken directly to the audience in both versions. A positive audience response extended to its generous applause at curtain call, and in a discussion session afterward. At least 18,000 students will have the opportunity to similarly express their views.
