"Macbeth" : A Review

   My pal Ryan Hardiman provides this excellent review of the ARTS production of Macbeth, which takes the stage this weekend and next: 

When you use words like "Epic" and "You're welcome, world" to promote your show, it had better live up to the hype. You have to know Director Mike Murdock to realize that while he he throws out these words in fun, he's also dead serious in his ambition to lift Macbeth to meet those lofty claims. Good news. He succeeds.

When you enter the auditorium at the ARTS Rennaissance Center, the first thing you notice is the huge bloody hand, which has become an icon of this production, projected above a stage strewn with camoflage and boxes of military gear. A steel industrial drum sits center. Work lights sit atop stands and others are clamped to the lip of the stage, facing the audience. Modern music pulses. A first impression might be that the Scottish play has been set in the Vietnam War. 

A tuxedoed Mr. Murdock greets the audience and sets the stage for the production, explaining that his vision was to present Macbeth as timeless, in any war, in any place. It indeed looks like the players raided an army-navy surplus store, picking out military costumes and weapons from whatever era they fancied. Whether born out of concept or poverty, my advice to the audience is to just let go of any purist notions or a desire for visual consistency, and just let yourself be carried away by the story. If you must embrace logic, you could chose to envision the players as a ragtag militia group or a group of excellent reinactors with a limited budget. It doesn't really matter, because once things get rolling, it's likely you'll forget all about the costumes.

As the play kicks off to the Trent Reznor cover of Led Zeppelin's "Immigrant Song", a full battle explodes in front of you, and if you happen to be sitting in the "splatter zone," as I was, you may begin to wonder if you'll make it out alive. They now have my full attention.

Lighting effects lend to the mood, and monochromatic projections in the background suggest locations. Again, these seem not to pinpoint a particular era or country, consistent with Mr. Murdock's stated vision. From the front row, at least, almost everyone can be heard loud and clear. This is important, because in order to get the full effect of Shakespeare's tragedy, you don't want to miss any of the dialogue. You'll be surprised to remember how many famous quotes come from this play, and the actors deliver the lines in a natural style that makes this great story very accessible.

They promised blood, and blood they deliver in spades, although not with every kill. Some wounds clearly leave no trace of blood, but when they decide to use blood effects, watch out. 

Fight Coordinator Mike Naglee had his work cut out for him in this show and his work shines here, as well as in his comic role as the Porter.

Mr. Murdock has assembled so many strong actors that it would be impossible to properly highlight all who deserve mention in a review. There really are no weak links in this sturdy chain.

I have to say that in a show brimming with talent, Greg and Kate Morris are forces to be reckoned with as Macbeth and Lady Macbeth, respectively. They command the stage and imbue their roles with both rage and subtlety. You can see the wheels turning at all times. Theirs are the quality of performances that you would pay through the nose to experience elsewhere, and you have the chance to see this show in your own backyard for ten bucks. 

Don't miss this. It is epic.

Macbeth continues Sun. Oct 14 at 2 p.m. and next weekend, Fri-Sat, Oct. 19-20 at 8 p.m. and Sunday, Oct. 21 at 2 p.m.
All tickets general admission $10
Dinner and Show available by reservation $25 (Fri & Sat Shows Only)
Call 304-733-ARTS for dinner reservations.