Macbeth

directed by Kirk Williams

at the Kirkland House J. C. R.

Excitement fills the Kirkland House stage as Kirk Williams' innovative production of Macbeth delivers with sparkling vitality.

Through intricate an clever direction, Williams successfully transposes the world of Macbeth onto 1950's America, its dukes changing to gangsters and its king to a Godfather. Without altering the dialogue or betraying the play's intent, he brings to it a fresh vision which really works.

The production opens with the sound of a blues piano as the three Witches, fortune-telling bar-flies in Williams' production, croon a short trio. The piano music (played adeptly by Peter Sultan), which includes everything from Gershwin to Pachelbel to Nino Rota's theme from The Godfather, continues throughout the play, weaving the scenes together in what is perhaps William's greatest transformative device.

The musical accompaniment is indispensable to creating the mood and atmosphere of the play and at times even adds a lilting humor to its somber plot.

We then meet the King's court (or Marlon Brando's, as the case may be) dressed in business suits and equipped with guns as well as with daggers, who proceed to play out Shakespeare's story of greed, murder and revenge with an urgency heightened by the references made to modern times.

William's carefully chosen and meticulously directed choices bring the play up to date in a generally tasteful and effective manner. Macbeth delivers his "dagger soliloquy" under the influence of alcohol, and Shakespear's Porter becomes his soused bartender. Moreover, Birnam wood does not come to Dunsinane as camouflage of war, but rather through its use in the manufacture of the enemy's weapon's.

Occasionally, however, Williams carries these devices a little far, making Macbeth too much fun for its own good. (The conversion of the witches' cauldron to an electric blender is one of these times.) The comic direction of some of the more intense moments of the script--like when Banquo's assassins bumble around like idiots and foul up their assassination attempt in the spirit of Inspector Cluseau--all lessens their ultimate impact.

However, the solid performance of just about every member of Williams' cast (which is composed entirely of Kirkland House members) more than compensates for these detractions. The energy which the actors bring to the stage infuses the plot (and the audience) with chills and excitement.

L. Clifton Lazenby is a formidable Macbeth. He delivers his lines with exacting clarity and intensity, revealing the most cunning and devious side of the character. Lazenby's strong presence makes his occasional lapses into "indication" of evil--a rubbing of the chin, or a devious sneer--thankfully unnecessary.

Jennifer Breheny's Lady Macbeth is powerful and effective. She is cruel and icy, dressed to kill, (or to have others do some killing for her) and ready to meet her husband's doubts at every turn. her performance of Lady Macbeth's chilling Act II soliloquy is excellent.

John Michael Gibson renders a strong performance as Banquo, and Douglas Rosenberry's Duncan is also excellent. Wes Hill is hilarious as the hapless Porter who simply can't hold his liquor.

Overall strong staging, lighting, costuming and acting make this Macbeth one which truly succeeds in making all fair, foul, and all foul fair.