Review: Macbeth, The Network Theatre

It would seem as if Shakespeare’s Macbeth is always around, either being quoted, studied, or, occasionally, in the title of a New York Times bestseller. Currently, the Acting Gymnasium is presenting the play at the Network Theatre. This version of the Thane of Glamis’ story claims to have been inspired by “Japanese horror, Chiaroscuro, and German Expressionism”, and on certain occasions these elements shine through, though not enough to differentiate this version of the play from those that have come before.

One of the common elements of both Macbeth and Japanese horror is the supernatural, and this version of the play makes those elements evident and almost tangible. The three witches (Tana Brill, Carol Ratti, and Sabrina Santamaria) have their lower faces painted white, and the eyes and forehead area painted black, in a manner inspired by Japanese creatures. Their presence goes beyond what the original script asks them to do, as they also seemingly raise Banquo’s (Stefan Saintclair) spirit, now mauled and moving in a zombie-like manner, so it can haunt Macbeth later. Lady Macbeth (Prilly Lee) also seems to be somewhat connected to the supernatural, as her “unsex me” monologue is accompanied by poignant body horror gestures. By making the supernatural aspect of the play such a strong presence, this version of Macbeth seems to stray slightly from the theme of guilt towards mania, an interpretation that fits the mood for the month of Halloween. However, beyond the witches’ makeup, none of the Japanese elements feels fully developed. 

The stage remains consistent throughout most of the play, having only a dark red throne with a brighter red fabric draped behind it to simulate a three-pointed crown – a visual representation of the blood that is going to be spilt for it, even though barely any stage blood is used. The costumes maintain a black and white colour story with pops of red. It is in the lighting department that the visual elements of this production stand out, as the use of a stage light at the front of the stage creates the Chiaroscuro effect promised. With a bright light shining upon him, Macbeth’s (Aryan Chavda) monologues are characterised by deep shadows, giving him a threatening air that fits the character wonderfully. This effect, though, is overutilised in the second act, being used for more characters in scenes 

The performances are the strongest element of this production, as every cast member’s performance fits the haunting mood precisely. Chavda delivers some of Shakespeare’s best-known monologues in a terrifying manner. Brill, Ratti, and Santamaria’s witches are scarily enchanting, stealing every scene they are in with jerky movements and screams. The standouts were Lee’s Lady Macbeth and Charles Worthington’s Macduff. Lee plays Lady Macbeth as a straight-up villainous woman, a strong presence that is marked by wonderfully performed body horror and a final manic episode. Worthington plays a Macduff characterised by deep feelings of grief, delivering powerful screams and cries at the deaths of both Duncan and his family. A good portion of the cast performs action sequences and stunts that are beautifully choreographed and extremely engaging. 

This version of Macbeth claims to bring a different vision to the play, but the elements added blend too seamlessly with the pre-existing material, making the production less innovative than it aspires to be. It is still a wonderful version of the play that is worth seeing, especially if you want to indulge in the supernatural and horror aspects of Shakespeare’s Scottish play.

Writer: William Shakespeare
Director: Gavin McAlinden
Assistant Director: Holly Durkin
Original Music: James Jones
Lighting Design: Jack Hathaway
Sound Design: Joe Browning
General Design: Camille Godechoux

Macbeth plays at The Network Theatre until Saturday October 25