Susan Granger’s review of “Macbeth” (Lyceum Theater 2007-2008 season)
Having made the journey from England’s Chichester Festival Theater, to London’s West End, to the Brooklyn Academy of Music and now to Broadway, Patrick Stewart’s stunning production of William Shakespeare’s “Macbeth” is awesome.
Instead of the usual beginning with three weird hags singing their riddling runes on a dark, lonely moor, the three ‘witches’ appear on-stage as hospital nurses, lethally tending to the Bloody Sergeant, before they deliver their prophecy to the esteemed nobleman, Macbeth (Stewart), who will subsequently fall prey to ambition, despite warnings from his friend Banquo (Martin Turner). Macbeth is egged on to usurping the Scottish throne by his young, strong-willed, even-more-ambitious, trophy wife (Kate Fleetwood), who realizes that an overnight visit from King Duncan (Byron Jennings) is the perfect opportunity for murder. But anguished Macduff (Michael Feast) suspects their sinister plot and, eventually, assembles a hostile army, bringing the forests of Birnam to Dunsinane Hill.
One of the finest actors of his generation, Patrick Stewart commands the stage, delivering a nuanced, surprisingly complex performance, including casually making and eating a sandwich while plotting the upcoming slaughter.
Director Rupert Goold sets this contemporary production in what appears to be Stalinist-era Russia. Set designer Anthony Ward has created a stark, industrial kitchen-like setting in which people arrive and leave by an ominously creaking elevator. Adding to the effectiveness is Howard Harrison’s lighting, Adam Cork’s sound and Lorna Heavey’s inventive video projections.
One of the most impressive moments, the arrival of Banquo’s blood-drenched ghost, comes not once – but twice; once in reality, the second time haunting Macbeth’s conscience-stricken mind. However, that is the highlight of the second act which is far too long. “The Tragedy of Macbeth,” one of Shakespeare’s shortest dramas, now tortuously drags on nearly three hours.