‘Macbeth’ is a stylish warning to the ambitious
A drum, a drum! Macbeth doth come.
The line from Shakespeare’s infamous “Scottish play” inspires the opening of Orlando Shakes’ latest production.
Slowly yet insistently, a drummer pounds his instrument, the beats coming ever faster. A woman wails — it’s not grief but something less definable yet equally primal. Anger? Power? It is a call to war.
The great tragedy of “Macbeth” is one of Shakespeare’s leanest plays, and one that relies heavily on atmosphere — from the foreboding inspired by the otherworldly weird sisters to the chilling dread of Lady M’s descent into madness.
At the Shakes, director Irwin Appel has sought inspiration from the East.
The stylings of traditional Japanese theater are evident in the way the actors create striking tableaux; in the percussive soundtrack of not only drums but chimes, bells and whistles; in Christina McCarthy’s shrewdly compelling choreography of movement; and even in Ann Sheffield’s sleek costume design.
All of this is highly compelling stuff, and creates the necessary sense of drama without an array of props or elaborate scenery. That minimal scenery — the design is also by Sheffield — does allow for some illuminating moments.
As Macbeth hears that kingship lies in his future, the glittering crown literally hangs right in front of his rapt face.
“Macbeth,” of course, is a story of ambition run amok. Macbeth, a nobleman of Scotland, encounters three witches who plant the idea in his mind that he could be king.
Before long, he and his ruthless wife are murdering monarchs, friends and other innocents to make the prophecy come true.
Orlando Shakes veteran Christian Ryan plays the title role with a charming insouciance at first; it’s striking how his countenance ages as soon as the crown encircles his brow.
Other Shakes returnees provide solid support — Kenny Babel as doomed King Duncan, the coarse porter and doctor; Walter Kmiec, radiating loyalty and trust as Banquo; and Suzanne O’Donnell as the Scottish nobleman Ross.
It takes a while for all the artistry to build momentum, but once things click into place, watch out.
And Tony Simotes’ fight choreography provides an especially thrilling finale to this stylish production.