The Tripod

There are some Broadway-goers who, in spite of their commitment to all things theatrical, hold a special place in their heart for Shakespeare. These people believe that William Shakespeare is the ultimate master of the theater and that the true test of any actor's, director's, or company's ability is the successful production of a Shakespearean classic. It is for this reason that I nearly had to be peeled off the walls of my dorm room when I heard that Patrick Stewart would be starring as Macbeth on Broadway for a limited engagement, beginning Tuesday, April 8, until Saturday, May 24. An enormous fan of the British-born Stewart, I was thrilled at the prospect of seeing him in New York. I purchased my tickets for the show one day after they went on sale, and though I was fortunate enough to get seats in the orchestra, I was relegated to the second-to-last row for a Sunday matinee, demonstrating the popularity of the play. Macbeth moved to the Lyceum Theater following wildly successful engagements at the Brooklyn Academy of Music and in London's West End, where the production earned Olivier Awards for Director Rupert Goold and Best Lighting Design. Though I have been to five Broadway shows since September, I sat down in my seat on Sunday with more anticipation than I had felt at all of the other shows combined.

Although I had heard rumors that the story took place in a modern setting, I was surprised to see a stark, cold, permanent set with only a few pieces of furniture - a few metal tables, a freezer, a television set placed on top of that freezer, and a sink with its back facing the audience were the only props onstage. In the first scene, the nurses (or witches from the original play) tended to an injured, bloody body. The nurses' costumes were reminiscent of World War I, but the AK-47s carried by the soldiers and the color television set were comparatively modern. Though I do not typically consider scenery to be an important part of Shakespeare, the sound and lighting successfully conveyed the darkness of Macbeth's mind. Furthermore, the images of war projected on the wall gave the performance an Orwellian darkness that added to the sense of fear brought to life by the murderous Macbeth. Playbill News Online describes the play as set in a "subterranean kitchen that serves as a military hospital in a timeless and nameless country." As Macbeth is often called "The Scottish Play," the removal of Scotland as a key element of the story added to the lawless, violent plot (although the country was still referred to as Scotland in the dialogue). Goold's artistic and interpretive setting, though in some ways distracting, added a unique dimension to a well-known story.

As in all Shakespeare, particularly in a story such as Macbeth which examines the deepest realms of the human psyche (ambition, revenge, hatred, and guilt), it is the acting which can make or break a performance. Though it is possible that my excitement for this show led me to have unrealistic expectations, I was somewhat disappointed by the performance of several of the lead characters. In particular, Lady Macbeth (Kate Fleetwood) came on in her first scene with so much intensity and emotion that it was impossible for her character to develop into the almost blood-thirsty antithesis of the traditional woman that Lady Macbeth is supposed to be. Similarly, Macduff (Michael Feast) was unconvincing in his transition from an honest, successful nobleman to a ruined man bent only on achieving bloodiest revenge upon the tyrannical Macbeth. Fortunately for Feast, the supporting actors playing Banquo (Paul Shelley), Malcolm (Scott Handy), and notably the porter played by Christopher Patrick Nolan were so convincing in their roles that they contributed enormously to Acts IV and V. In all, the supporting actors of the show helped carry key scenes in which several lead actors were either overacting or underperforming.

As I have stated, my expectations for this production were extraordinarily high and in particular I anticipated a performance from Patrick Stewart which would eclipse all others that I have seen. Though this was unfortunately not the case, Stewart's performance of Macbeth was exceptional. Unlike many of his fellow leads, Stewart did not overplay the tortured protagonist. In fact, the subtlety with which he portrayed the deep psychological battle that takes place within his character brought a sense of realism to the production that was otherwise lacking. Furthermore, Stewart brings to the stage a unique interpretation of Macbeth that I had neither seen nor considered before. Stewart, through both spoken word and physical gestures, added almost a comic element to his character. In scenes where Macbeth is entertaining his guests or opposing his wife, Stewart brought out an element of the insane in Macbeth which was not tied to violence but rather brought on by his own guilt and the absurdity of the life that he was living. It is this memorable interpretation of Macbeth that, upon reflection, made the performance remarkable.

In all, I enjoyed myself tremendously at the Lyceum on Sunday. As someone who generally finds myself lost in the performance of a production, I am somewhat disappointed that I left Macbeth with a feeling that something was missing. That being said, for a few moments during the curtain call, as Patrick Stewart beamed with the kind of contentedness that we all search for in our lives, I found myself captivated by the magic and appeal of the theatre. I believe the current production of Macbeth at the Lyceum is ultimately a unique and worthy interpretation of Shakespeare's beloved classic play.

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