-Good -Blood, Guts and Real Acting Macbeth by Jeff Griffiths Stunning’ is the first word that comes to my mind when considering the production of Shakespeare’s tragedy Macbeth which is currently showing at the Vancouver playhouse. It captures all the strength and brutality, madness and witchcraft of the original folio told so as to highlight the players, the symbols and the dark portents Shakespeare wove into his plot of Scottish mayhem. Stripped away are the outdated elaborate backdrops and pompous postering; they are replaced by an effective minimalism in stage design and an accent on horror- movie-esque effects. The stage, at times, is simply awash in blood, as combatants dressed in a mixture of medieval and contemporary military uniforms attack relentlessly with sword and spear. If anything, this Macbeth is the opposite of Roman Polanski’s acclaimed film interpretation, which empha- sized the ability of film to bring one into a place (say, medieval Scotland) through lots of scenic shots of the countryside. In Polanski’s interpretation there is de- emphasis on the actual language of the play, and by proxy the actual acting job. Director Larry Lillo’s interpreta- tion relies most chiefly upon the jobs of the actors in creating an on-stage dynamic with very simple tools in terms of set and prop. And very powerful performances are what drives this production, from Hardee Lineham as Macbeth, quailing at the sight of Banquo’’s ghost, to Patti Allan as the venomous Lady Macbeth, scheming at her husbands triumphs. A strong supporting cast accompa- nied the evil two-some, including John Moffat as the heroic Macduff, and Duncan Fraser as the ever vile and humorous porter. - The few weak spots in the production were the “field and tree” painted backdrop, which I found extremely tacky, and an ineffective performance by Mike Stack as Malcolm throughout most of the play. He redeemed himself later, however, in his confession to Macduff of the awful things he would do as King. Allin all, this Macbeth struck me as a great interpreta- tion, an emphasis on the psychological aspect of the play and an excellent exploration into theatrical minimalism in the context of Shakespeare, who remains humanity’s ‘greatest playwrite, Jeff received complimentary tickets . Planet of the Arts Volume 7 -Macbeth the Vancouver Playhouse’ s Tragedy by Andrew Robulack Macbeth ran at the Vancouver Playhouse until March 7th. Macbeth, that great tragedy by William Shakespeare, is commonly believed to have first been performed for that jolly old soul,King Christian IV of Denmark to honour his visit to England in 1606. If said royalty were to have attended the recent production of the same play by the Vancouver Playhouse it is certain that war would have been declared on Canada by King Christian. Directed by Larry Lillo and assistant directed by Nick Hutchinson (reputed to be a Shakespeare scholar), Macbeth was reduced to the level of a cheap B-level thriller with what seems to be little or no understanding of the term “tragedy”. Upon having viewed this recent farce King Christian would have had both Lillo and Hutchinson beheaded immediately. Set in 11th Century Scotland, Macbeth is based roughly on an historical account of an early Scottish king which Shakespeare would have discovered in Raphael Holinshed’s Chronicles. lt is a story about a prince, Macbeth, who ascends to the throne of Scotland by murdering anyone he deems to be in his way. His wife, Lady Macbeth, fuels his ambitions with her own selfish wishes to become queen. It is common knowledge that a tradition of bad luck follows Macbeth wherever he travels and many theatre companies will not perform his tragedy. The Vancouver Playhouse’ s attempt to overcome such a notion certainly served only to reinforce it. In their directing, Lillo and Hutchinson failed to explore the psychological move- ments of their main character, Macbeth. They did not seem to understand that he does not begin as an evil person but evolves to such a state over the course of the play (this being the source of the tragedy). Hardee Lineham, player of Macbeth, also failed to exploit the full potential of his character. As an audience we were never allowed to discover the inevitable tragic flaw in Macbeth, his initial humanism and indecision. Issue 6 page 14 em sees photo- David Cooper Lineham never let his character be anything more than a grim and hateful man with a coarse voice, a constantly furled brow and all. King Christian, in the long run, would most certainly have spared Lineham, for he tumed outto be the strongest and most interesting actor on stage. Constantly energetic, Lineham created a convincing character who, even if it wasn’t Macbeth, was at least dramatic. Unfortunately his and his fellow actors’ efforts were wasted by Lillo and Hutchinson’s poor directing. When- ever a’character had more than one line of speech in a dialogue every other body on stage took on a neutral or frozen stance. There was no contact between the charac- ters and no discourse occurred. Lillo and Hutchinson, in this fashion, turned Macbeth into a series of poetry recitals with a distinct lack of continuum in their juxta- position. King Christian would have found this a matter of particular insult both to his intelligence and his enjoyment. There may have been a good reason for Lillo and Hutchinson’s stiff directorship, such as a vague attempt at emphasis on necessary pieces of information con- tained in the actual text. That leads one, however, to analyze the style with which they approached the several “asides” in the play. Contrasted with the long scenes of static dialogue the directors attempted to maintain an ambience around cach “aside” by continuing the other characters’ actions. For example, in act 1, scene 3, while Macbeth speaks “This supernatural soliciting/Cannot be ill, cannot be good/...But what is not” (lines 130-141) the other actors on stage had not only been directed into bad blocking positions (King Christian would only stare at a cast’s backs for so long), but they also carried on whis- pered conversations with body motions. This seriously detracted from the content of Macbeth’s “aside” while doing nothing for the scene. One soliloquy was also badly handled: it was allowed -Bad . to be hampered by a pathetic attempt at technical ingenu- ity. King Christian would have found this particularly discrediting to the play as, rumour has it, he was a Shakespeare purist at heart and truly enjoyed listening to the words. Macbeth’s famous “Is this a dagger I see before me,/The handle toward my hand?” was nigh inaudible at times as a strange screeching noise buzzed too loudly through the stereo (mono?) sound system in the theatre. Whatever meaning is carried inthis soliloquy was lost to the large portion of the audience pressing their fingers into their ears. For two other soliloquies, however, King Christian would have delighted. Lady Macbeth’s (Patti Allen’s) “Qut damned spot!” was a spectacle unto itself. Pam Johnson’s brilliantly simple stage was used to the utmost of its design, holding the train of Lady Macbeth’s crim- son nightgown behind her likea trail of blood. This visual element became a superb supporting element to the idea of the scene, wherein Lady Macbeth, in sleep walking, is dealing with the guilt of murder. Also, Macbeth’s ulti- mately famous “She should have died hereafter” was wonderfully reduced to its purest and simplest elements with Lineham reciting it alone in a single spotlight. The controversial gore of Lillo (that Polanski wanna- be!) and Hutchinson’s directing was just a dismal and unnecessary failure which served more to raise the audi- ence’s whispering level than their interest or disgust. The blood was so starkly artificial that King Christian would have begun to believe Macbeth to be a comedy of the modern, slapstick genre (as much of the Playhouse audience did). Though it is indisputable that Banquo’s becoming a bloody fountain provided abundant comic relief from the production ’s stagnant pace. And as for the murder of Lady Macduff it was utterly silly and unnec- essary; in fact, Shakespeare specifically directed the action of the play against such violence in his text. Even more laughable were the amateur fencing scenes. ‘Slow’, ‘predictable’, and ‘punishable by death’ are just some of the terms that King Christian would have found applicable. Fight choreographer David Bloom ought to go and spend some time with Hulk Hogan and the rest of the goons on the WWF—at least they're convincing. This production had one other merit, as well. Barring the ridiculously naive backdrop painting of the English country sideand the stale.acting of Mike Stack (wasn’the in Bill and Ted’ s Excellent Adventure ?) as Malcolm, the conversation in act 4, scene 3 was, for a fraction of an instant, thrilling. Just at the point at which Macduff realizes the severity of Ross’ report (“Your castle is surprised, your wife and babes/Savagely slaughtered.”) the play was almost believable. Until, at least, Malcolm coaxed : “dispute it like a man [,dude}” (square brackets my addition). Luckily King Christian wasn’t able to attend the Vancouver Playhouse’s production of Macbeth. Canada is in enough trouble as itis, Next time, however, perhaps the Playhouse, Larry Lillo, and Nick Hutchinson will recognize the bounds of their skills and, if not avoid a cursed play, at least treat it with a bit more respect and understanding. Andrew had to buy his own tickets. eS BS See Andrew's Previews onthe following page for information on upcoming Playhouse events. -Blood, Guts and Real Acting Macbeth by Jeff Gifths ‘Stunning’isteirst word hat comes to my mind when considering the production of Shakespeare's tragedy Macbeth which is curren showing atthe Vancouver playhouse. It captures all the suengih and truly, madness and witchcraft ofthe orginal folio old soso highlight the players, the symbols and the darkportens ‘Shakespeare wove into his plot of Scouish mayhem. ‘tipped away ae the outdated elaborate backdrops and ‘pompous postering; they are replaced by an effective ‘minimalism in stage design and an acent on horor- movie esqueeffets. Thestage,attimesissimpyawash inblod, a combatans dressed ina mixture of medieval ad contemporary military uniforms atack relentlessly with sword and spear. If anything, this Macbeth is tbe opposite of Roman Plansti’s acclaimed film interpretation, which empha sized te bility of film wo being one into apace (say, roieval Scotland) through lots of scenic shots of the countryside, In Polansi's interpretation there is de emphasis on te actual language ofthe ply, andby proxy the acual acing job Director Larry Lill’s interpret tion relies most chiefly upon the jobs ofthe actors in ‘creating an on-stage dynamic with very simple tol in terms of Set and prop. And very powerful performances arewhat drives ths production ftom Hardee Lineham as “Macbeth, gusling atthe sight of Banquo’ ghost, tPat ‘Allan asthe venomous Lady Macbeth, scheming ater husbands wiampls. A strong supporting cast accompe ried the evil two-some, including John Moffat as the beroic Macduff, and Duncan Fraser ashe ever vile and ‘humorous porter. “The few weak spos inthe production were the “ld and tre" punted backdrop, which I found exemely, tacky, andan ineffective performance by Mike Stack as, Malcolm troughout most ofthe play. He redeemed himself later, however, inhi confession to Maca of the awful things he would do as King. All inal this Macbeth truck meas a great interpreta- tion, an emphasis on the psychological aspectofthe play and an excelent exploration into theavcal minimalism inthe context of Shakespeare, who remains humanity's greatest playwite. Set coe ninety tts Planet of the Arts Volune 7 -Macbeth the Vancouver Tragedy Playhouse’ s by Andrew Robulack. Issue 6 page 4 -Ugly Tuscbeth ran at the Yanoouver Playhouse enti March 788 ‘Macbeth, tha great agedy by William Shakespeare, is commonly believed to have first been performed for that jolly old soul Kifg Christian 1V of Denmark to honour his visio England in 1606 said royalty were ‘have attended the recent production ofthe same play bythe Vancouver Playhouse itis cenain that war would have been declared on Canada by King Christian. Directed by Lary Lillo and assistant directed by Nick Hutchinson (reputed to be a Shakespeare schol), Macbeth was reduced to the level of a cheap B-level thle with what seems io be litle or no understanding ofthe term “sragedy”. Upon having viewed this recent farce King Chrisian would have had bo Lilo and Hutchinson beheaded immediatly Setin 11th Century Scotland, Machethisbased roughly on an historical account ofan early Scottish king which Shakespeare would have discovered in Raphael Holinshed's Chronicles. Iisa story about a price, Macbeth, who ascends to the throne of Scotland by ‘murdering anyone he deems wo bein his way. His wife, Lady Macbeth, fuels is ambitions wither own selfish wishes to become queen. Ivis common knowledge that a tradition of bad luck follows Macbeth wherever he avels and many theatre ‘companies wil ot perform is tagedy. The Vancouver Playhouses atempt to overcome sutanotioncerinly seved ony to reinforce it In their directing, Lillo and Huichinson filed to explore the psychological move ments of their main character, Macbeth. They didnot Seem to understand that he does not begin as an evil person bu evolves to sucha state over the couse of the play iis being the source ofthe raged). Hardee Lincham, player of Macbeth als filed 10 exploit the fll potential of his character. Asan audience we were never allowed to discover the inevitable tragic flaw in Macbeth his inal humanism and indecision Lineham never lethis character be anything more han 2 im and hateful man with a coarse voice, a constantly furled brow and all. King Christin, inthe long rn, would mostcertanlyhavespared incham,forke turned ‘outtobethestrogest and mostintresting ctor ont CConstanily energetic, Lineham created a convincing character who, even itt wasnt Macbeth, was atleast dramatic, ‘Unfornately his and his fellow actors’ effons were wasted by Lillo and Hutchinson's poor directing. When ‘ever a character had more than one line of speech in dialogue every other body onstage took on neutral or frozen stance, There was mo contact between the charac ters and no discourse occured. Lilloand Hutchinson, in this fashion, red Macbeth into a series of poetry recitals wit a dstinat ack of continuum in thet uxt position. King Christan would have found his amater of particular insult both to is inelligence and his enjoyment “There may have been a good reason fr Lillo and Hutchinson’ ssf diertorship, suchas a vague attempt a emphasis on necessary pects of information con: tained in the actual tex. Tat leads one, however 10 analyze the syle with whichthey approached the several asides” inthe play. Contased withthe long scenes of static dalogue the directors atempied to maintain an, ambience around cach “aside” by continuing the other characters’ actions. orexample, in act 1,scene 3, while Macbeth spaks""This supernatural slctng/Cannotbe ill,cannot be goo/..Bu whatis not” (ins 130-141) the ‘other aciors on sage had no only been directed ino bad blocking postions (King Cristian woul only staeata casts backs fr so lon), but they also carried on whis- pred conversations with body motions. This seriously