Theater Review: Macbeth

by Alexandra Bonifield of North Dallas Gazette

The Samuell-Grand Amphitheatre provides the perfect setting for Shakespeare Dallas’ production of Macbeth, from the somber trees lurking ominously at the amphitheatre’s edge to the impenetrable void of starry night above. Pre-show, the empty stage fairly glows with anticipated mayhem, murder and intrigue-- bathed in lurid gold and blood red lights, shrouded in odd corners with misshapen brown shadows. Truly bewitching. And like bad dreams the three hags come, punked out and drug-laden, slithering onto the set to begin their unholy gyrations and famous incantations. I feel the hairs curl at the back of my neck. Something extremely evil is about to take place. They have my full attention.

Shakespeare Dallas’ creative team never disappoints with their bold, straightforward approach to the Bard’s work. I may not like all of what I seem and I may disagree with aspects of interpretation or specific directorial choices. But I always feel the theatrical muse is extremely well served and the play’s integrity maintained, no matter how much modernizing occurs to increase accessibility for today’s audience. SD’s Macbeth lives up to expectation.

How easy it would be to allow Macbeth to descend into melodramatic soap opera with a Wes Craven-esque splatter of blood and guts. That’s how it’s often performed. Instead, this is a dignified, realistic staging, almost cinematic in the style of John Sayles or the Coen Brothers. Emotional moments are internally focused and tight; violence is savagely expansive. David Fluitt as Macbeth brings a restrained, edgy stoicism, to his role that at first took me off guard. It’s so easy to stereotype “big” roles: if Mr. Fluitt chewed up scenery and dissolved into a weepy, remorse-consumed puddle before his death, no one would cry foul. It took me a while to get accustomed to his distinctive style and tone. Once I caught on, I delighted in his reserve. The character Macbeth thinks he lives a in a black and white world—simple choices with clear, obvious answers. “Kill the King. Take the Crown.” But when life throws him nasty curves in the way of unanticipated results, he freezes up internally and strikes out with unspeakable menace. Unbridled ambition thrusts Macbeth into performing desperate acts; the psychological consequences reveal his derangement and cause his ghastly downfall. It’s a chilling, sophisticated interpretation with overtones of genocide and Virginia Tech cold-bloodedness, reflecting strong directorial vision and powerful acting; I plan to see the play again just to watch David Fluitt's creation. Lady Macbeth, ably presented by Dana Tanner, functions appropriately as catalyst for her husband’s fateful descent and gets caught up in labyrinthine deception, swept away by the resultant torrential violence. The balance of the cast, costumed in a believable mix of modern and period costumes, live simpler existences and function on a diminished scale compared to Lord and Lady Macbeth. The price of power, fame and greatness?

Director Marco Salinas brought a specific dark vision and untried ideas to the challenges this play presents. He says SD Artistic Director Raphael Perry "has been amazing in support of those ideas, even suggesting ways to expand and deepen them for our unique playing space." It’s a highly effective collaboration.

A few concerns: I did not like Macbeth using a pistol. It confused and diminished the play’s potent dagger metaphor. I felt the ever-challenging staged combat scene was clumsy, predictable and not particularly effective. Macbeth’s "decapitated head" didn’t look real enough at the end; it would have been proper testament barely revealed under draping. Small concerns for a huge undertaking. If you’re new to Shakespeare, see Macbeth for its relevant, vivid impact. If you’re an old hand with the Bard, enjoy this production’s gritty, intriguing depiction of a good leader gone awry.

It will continue at the Addison Circle Park from October 17-21 at 8:15 p.m. curtain. Join Artistic Director Raphael Parry ahead of the show on Oct. 20 for Stagenotes, where he will discuss the play’s historical significance and context and share insight into the Salinas production. Reserve tickets in advance online.