It takes all of five minutes for a fight to break out. As the
lights dim in the grand Lyric Theatre, a bass-driven rock song blares and cast
members in dystopian military garb rush the stage. A battle ensues, and only
the strong survive.
Such a
violent beginning for WallByrd’s latest show,
“Macbeth,” establishes two things right away. First, someone at WallByrd (likely, Artistic Director Virginia Monte)
understands the same thing a good journalist knows: “if it bleeds, it leads”; and
second, this isn’t your average Shakespeare. This is Shakespeare for the next
generation.
Most
audience members will be familiar with the plot of “Macbeth,” whether they read
it in high school or watched the “Wishbone” version on PBS at some point. The
tragic tale follows power-hungry Macbeth, a Scottish general, and his equally ambitious
wife, Lady Macbeth. After a trio of witches foretells Macbeth’s future as King
of Scotland, he and the lady decide to hasten the prophecy by removing the king.
Civil War quickly ensues under Macbeth’s tyranny, and forces of darkness
overtake the kingdom.
Because
Shakespeare’s work is in the public domain, many theater companies take the
opportunity to update or adapt the work to a different era or concept. (A
recent example is the Public Theater’s much-debated Shakespeare in the Park
production of “Julius Caesar,” which depicted a modern-day Rome and a Caesar
much like President Trump.) WallByrd’s version of
“Macbeth” is post-apocalyptic, inspired by the 1979 and 2015 “Mad Max” films in
both aesthetic and tone.
In other
words, Shakespearean purists beware: this isn’t The Bard’s 17th century world.
It’s WallByrd’s world now, and it asks the audience
to suspend disbelief; to coexist with giant puppets and gender-blind casting.
For those who are willing to do so, the reward is a show unlike anything else
currently onstage.
Like most of
WallByrd’s (and Shakespeare’s) shows, “Macbeth” is a
lengthy run — two hours and 45 minutes, including a 15-minute intermission —
but the show keeps a consistent pace. The cast features more than 25 people,
ranging in age, and many of the cast members fill multiple ensemble roles. The
lead roles are packed with talent, a necessity whenever Shakespeare is
performed. In this adaptation, the actors had the challenge of the language,
the fight choreography (directed by professional Alec Barbour), characterization,
and the set (which many in the cast had to climb and jump from throughout the
show).
Andy Head (as
Macbeth) and Megan Barbour (Lady Macbeth), both highly trained actors, deliver
outstanding performances and embody the iconic characters with a chemistry and
energy that is captivating throughout the show. In the role of Banquo, recent
Nazareth College graduate Ged Owen possesses a quiet
intensity and stage presence beyond his years of experience. Jonathan Lowery,
who plays Lennox, steals the show during battle scenes with his fluid, expert
movement (no surprise, considering he’s a member of PUSH Physical Theatre).
Lauren MacDonough (Menteith)
elicits chills with a short, eerily beautiful a cappella song. The entire cast,
overall, remains impressively in character and focused throughout the
performance — a rare feat for a non-professional troupe.
According to
its fundraising page on Fractured Atlas (a nonprofit crowdfunding platform for
artists), WallByrd’s budget for the show was projected
around $30,000. That’s easy to believe, based on a set featuring extensive
scaffolding rentals that provide multiple levels onstage; advanced lighting
equipment; and extensive sound design that incorporates mics for the actors and
a full soundtrack.
The stage
resembles a fallout shelter, while the costumes and makeup reflect aspects of
military grunge, desert wear, and war paint. Monte also created several large
puppets — really, a more gruesome term would be fitting for these beings — that
add delightfully horrifying special effects to the show.
Live, local
theater competes with multimillion-dollar film budgets, plot-heavy video games,
and that supercomputer in everyone’s pocket. For the next generation of
theatergoers — one that values experiences over material possessions —
immersive, sensory theater is a strategic move, and creating more of it will
only advance Rochester’s theater scene.
This article appears in Jul 19-25, 2017.
