"Lesser than Macbeth, and greater" . . .
Non-Union production - closed
by Louis Lopard - 10/2003
A very exotic turn on Macbeth by Director Andrew Cucci, this production worked at fever pitch to call attention to its own modernity, including gratuitous - if skillfully executed - nudity for the Macbeths. It had its moments - mostly intimate ones; but the big picture wasn't there.
This was yet another Macbeth with an abundance of disco witches - this time nicely choreographed (uncredited, possibly Collin Poole) however questionable. (There was a truly terrible early business with the dagger and the witches.) And far too much background story was illustrated on stage - in what is becoming, in this level of theatre, a very annoying trend amongst directors. In this case, besides a lengthy and silly "preamble" to the play, we also saw the assassination presumably of old Cawdor, saw Duncan's sleep and murder, saw the witches "assist" Lady Macbeth's suicide, etc. Enough. We directors should all write a screenplay and get it out of our system.
Jared Kirby played a rock-solid Banquo, whose early scene with the witches was perfect ("Lesser than Macbeth"). When Mr. Kirby's Banquo stands "in the great hand of God" we can see he really thinks this will protect him. Banquo's later "rising" from the dead almost worked, but then another dreadful witch ballet followed. Better use of the witches: their interactions with Hecate, an apt and stylish Susanna Harris.
We had a mostly contemplative Macbeth, prone to rare but violent outbursts: Albert Aeed is capable of subtle shadings and ironies, but this can be misdirected with disastrous results. His conspiratorial "we will speak further" was hilarious to many in the audience, since it interrupted an unfolding sex scene. For the most part we were given a flat and expressionless delivery of a sort that so many suffered through recently at BAM. (Is this a trend starting?!) His often mumbled and rapidly pattered speech seemed to be saying "isn't this stuff interesting" as though discovering it for himself for the first time. Interesting, yes, and it sometimes lent intimacy to a scene or soliloquy, but often resulted in the oddest stress ("Canst thou not [pause] minister to a mind diseased") which of course changes meanings.
Kristen Napiorkowski made a rather unique and always engaging Lady Macbeth. Her "come unsex me here" was done as in a witch's circle, very appropriate to this director's vision of her as cousin to the witch's clan. There was genuine urgency in her voice on "the sleeping and the dead are as but pictures" - which (a fascinating thought) gave us the feeling that this really frightened her. In a nice "Greek chorus" effect, the witches' tapping on a balcony rail evolved into the off scene knocking; it was classic emotional amplification - used effectively.
Servants and minor roles were often quite good. As in the sleepwalking ("Observe her") and letter scenes. Ira Bitner displayed good physical acting in multiple roles. Excellent as the Porter; even as the Doctor he told us volumes with the slightest cock of his head.
Charles Hendricks as Macduff conveyed power and temperament without resorting to hysterics (as is so often seen). Aaron Sims (Malcolm) stood out as another well grounded actor, able both to fuel and fire Hendricks' Macduff. Their trio scene (Macduff - Malcolm - Ross) was a visceral experience to watch — and had the best ensemble work of the evening.
Fight choreography by Dan Zisson was excellent. The production also featured a rock score (uncredited) which was for the most part well arranged, but proved to be annoying, intrusive, and badly timed (except for one scene were it worked). Besides the nudity there was gratuitous violence (did Lady Macduff really need to have her vagina harpooned?). This is not a play about violence, albeit set in a bloody period. It is a dark play - full of dark deeds, true, but as illustrative of the dark side of the human soul. This director's need-to-shock has dulled his duty-to-enlighten. We rather often need do both for our audiences, or at the very least, entertain. Judging from this audience - which sat there in the end silent and comatose until severely prompted - this production did neither.