A Critique of a Production of "Macbeth" Directed by Michelle Raskey
Shakespeare’s Macbeth, a saga of a Scottish general who yields to the suggestion of three witches of his imminent exaltation to power which consequently spins he and his wife on a murderous downward spiral, was presented by the Roseville Theater Arts Academy. The director, Michelle Raskey’s, indicated that Macbeth is her most beloved of Shakespeare’s plays. She fulfilled a life-long dream of witnessing the theatrical drama in the famous Shakespeare’s Globe theater of London; during the performance she began to mentally co-create her own version of Macbeth (Raskey 2017). In Raskey’s selection of music, costume, props and characterization, Raskey brilliantly brought together a tumultuous dance between the worshiping and the heretical playwright, aggravating the drama’s intensely dark storyline.
Sitting at a table in the lobby outside the theater, my eyes fell upon a sheet of paper mounted to the wall behind me in which was typed words that warned that the viewing of the play Macbeth made us accomplices to murder. Thus, even before entering the theater, the stage was set for an interactive and empathetic experience with Thane. While sitting in the theater and waiting for the play to begin, the proscenium stage had a few props that exhibited a child’s playroom and young boy amusing himself. The boy repeatedly went through a non-verbal script of imaginative play in which a bit of morbidity was interwoven as he dismembered a large doll with a sword. Heavy metal music echoed throughout the theater adding to an increasingly aggressive energy.
The play opened with a scene in which three actors- two female and one male, with gothic-style attire and makeup were hanging from strings like marionettes. Then more aggressive nu metal began to play as they unraveled their selves from their ropes and began to dance and tussle with each other. These were the three witches that would soon prophesy to Macbeth. The costumes of the remainder of the cast were a more traditional Shakespearean-style.
The script dialogue was in Elizabethan English, while the scenes were accompanied intermittently by nu metal music suitable to the mood and story-line. Also, in traditional Shakespearean grace, there were very few stage props. Scene changes consisted more of character changing. Blocks were used for seating. A stair case with a smoke screen obscured the more graphic scenes and also served the purpose of traveling across land. The blocking was progressive and unpredictable, keeping the audience alert as the acts transitioned. A hidden compartment in front of the stage allowed characters to hide and suddenly emerge, startling the audience and the characters engaging them in the dramatization. A few soliloquies were performed by Thane and other characters.
Each character filled their part or multiple parts well. The director indicated in the program that she had plenty of candidates for casting the full play but had made a conscience decision to have certain actors play multiple roles. The effect was a little confusing at times as one character would leave the stage and return as another. The acting of the majority was very convincing and amazing, understanding the difficulty of memorizing such in-depth script along with the unfamiliar dialect. However, one particular actor muddled the play’s believability by his seemingly inability to embody the emotions that he needed to display. This reminded me of a thought brought in class that a movie or play is only as strong as its weakest point.
Overall, the play was very well done. I felt a dull sense of both the fear and the pity that belonged to Macbeth but no real catharsis developed. Yet the intertwining of modern drama at its height of rebellion with an anchor in classical theater, created this sort of tension; it was as one violently shaking oil and vinegar together for the heightened flavor sensation of both. The result was artistic, unique, and entertaining.
Citation
Raskey Michelle. “Director’s Notes.” Program for Macbeth Roseville Theatre and Arts Academy. Roseville. 30 June 2017.
