Backlit by an eerie glow, the sword gleams menacingly, its blade stained crimson with the lifeblood of Duncan. Macbeth (Daniel Miller), stands over the fallen king, a conflicted figure shrouded in shadows cast by the flickering torchlight.
The air is heavy with the metallic scent of blood, mingling with the musty aroma of Mt. Airy’s Sedgwick Theater. The once-pristine sheets, now soaked in scarlet, recall the treacherous deed committed in the dead of night. Duncan’s body lies motionless, a testament to the ruthless ambition that consumes the Quintessence Theatre Group’s production of Macbeth.
The Sedgwick came into its own, as director Alex Burns utilized every nook and cranny of its intimate space to bring Shakespeare’s tale of ambition and betrayal to life. Despite its modest size, the show’s lighting (Anthony Forchielli) and set (Alex Burns) ensured that every square inch was utilized with characters popping out from all angles sometimes initially confused for an audience member returning from the bathroom.
The curtains parted to reveal the spectacle of war. The battlefield immediately came alive with a mesmerizing display of crimson hues, casting a red glow upon the audience. Backlit by a haunting light, each figure was transformed into a silhouette of war outlined against the backdrop of chaos and battle. Forchielli’s lighting, paired with Burns’ sound, stirred the audience’s adrenaline.
Christopher Mullens’s interpretation of The Porter contrasts with the play’s grim atmosphere. With unique skill, Mullen captivates the audience through his perfect timing and engaging presence. By engaging with the viewers, he injects moments of humor into an otherwise solemn story. Out-loud laughs accompany his remarks and playful behavior. Yet as the time comes, Mullen smoothly disappears back into the stage.
Sheltered within the walls of his castle with his wife, Macbeth builds on his mounting paranoia of guilt; the man destroys himself as surely as he destroys his country. For modern audiences, the shifting interplay between fate and free will, the analogous pillars of guilt and ambition, give the play perennial relevance and meaning.
Burns’ vision wildly expands beyond the canon of Shakespeare’s tragedy. At the same time, Miller’s Macbeth channels the archetype of the tyrant warlord.
Burns boldly and innovatively takes unique liberties with gender.
Miller’s performance blazes with charisma and authority. His physical size and powerful tone make it easy to believe he could have commanded a medieval army. His muscles and commanding presence epitomize the alpha-male warrior.
Burns has [the witches] continually reappear, highlighting their power with every polarizing scene.
While power and masculinity are easily recognizable, Burns also opens up a space for questioning gender identity and representation, asking the audience to believe what they see.
The witches are the most provocative and exciting aspect of Burns’s production in this regard. Where the witches make only three brief appearances in Shakespeare’s Macbeth, Burns has them continually reappear, highlighting their power with every polarizing scene.
And polarizing they were—some audience members made audible gasps when the witches made their most provocative dance moves.
With an entirely male cast, we’re forced to explore the witches’ plans and conspiracies. Burns gives us an experience closer to trying to work out what is going on – to address the capacity for gender fluidity and how we differentiate between powerful men and powerful women. At specific points, this makes the experience of viewing disorienting, as some of the witch scenes seem forced. In other areas, the casting adds a new dimension to an old story.
Costume designer Kelly Myers’ well-researched historical details add authenticity and enhance Shakespeare’s story. The soldiers’ kilts are a reminder of Scotland’s military, with a sense of timelessness breathed into them while reminding the viewer of where the play takes place. This decision respects faithfulness to history and underpins their relation to their land, making their narrative rooted in an intense awareness of place and culture.
Lady Macbeth, portrayed by understudy Cornelius Franklin, is done brilliantly. Myers aptly captures Lady Macbeth through intricate costuming, emphasizing her femininity while simultaneously expressing her strong, intimidating character traits.
QTC’s Macbeth transcends the limits of traditional theater, inviting an audience to go on a journey into the heart of human nature, where power, will, and moral reckoning collide in a complex of gender, sexuality, and iconic storytelling.
