I’ve seen Macbeth performed in the round, outdoors, in the nude, multiple film and TV versions, various homages and parodies across multiple media, I saw a spirited production last month by an emerging theatre company. But I’ve never seen a Macbeth like the Folger’s latest effort; neither have you, I’ll wager, nor anyone else in several centuries. And this Macbeth is entirely remarkable and unforgettable.
Director Robert Richmond, as part of Folger’s involvement in Performing Restoration Shakespeare, an international and multi-disciplinary research project that explores the Restoration-era adaptations of Shakespeare, is presenting William Davenant’s 1664 adaptation of Macbeth, heavily edited and revised to conform to then-contemporary standards of entertainment. In addition to the Folger Consort performing live Restoration-era music, Richmond takes the extra step of setting the production inside Bedlam Asylum, with the inmates performing the characters. (“Macbeth/Sade,” anyone?)
If William Davenant is remembered at all, it’s probably for his claim to have been Shakespeare’s descendant in the poetical and perhaps even literal sense – rumored at the time to be the Bard’s bastard son. But he is a unique figure in English drama, a poet laureate whose career was established prior to the English Civil War, spent many years in exile and prison under Cromwell, and then was able to return to prominence after the Restoration. For the child of a barmaid and (presumably) innkeeper, his rise is nearly as impressive as Shakespeare’s.
I suppose on general principle I should be appalled by Davenant’s revision, lumped in over the years with other more dubious hackjobs done to the Bard; from Nahum Tate’s King Lear with a happy ending — which became the standard script for nearly 200 years — to the various bastardizations of Romeo and Juliet in which the lovers survive. Davenant’s text was very well-received, would be used into the 18th century, and the musical settings with the witches and the addition of Hecate survived into the 19th century and even some 20th century printings.
Robert Richmond puts Lady M in Bedlam Asylum
Apart from a few jarring notes in the familiar speeches where one may justifiably quibble with word choice, and the loss of the iconic Porter, Davenant’s additions actually flesh out the human stories. There are more domestic scenes with Lord and Lady Macbeth, we see more of her descent into madness that we’d previously only encountered offstage. Lord and Lady Macduff’s roles are also expanded, where their relationship and pursuit of ambition is contrasted with the Macbeths. The witches are more omnipresent, with lengthy musical numbers where the delightful chamber music is counterpointed by truly gruesome lyrics. Few would confuse the poetry of Shakespeare with the more utilitarian Davenant (take the quiz if you like), but the revisions are quite refreshing, even beyond the novelty of the new, and a few zingers unheard for several centuries land their punches.
Take the extended conceptual backstory — a benefit performance organized by the head of Bedlam for the survivors of the Great Fire of London the previous week — with a grain of salt. Whatever. Focus instead on the gleefully macabre elements that evoke Sweeney Todd, Marat/Sade and even Weekend at Bernies. Richmond’s go-to design team is firing on all cylinders once again; from Tony Cisek’s set consisting mainly of iron bars and tattered cloth, Andrew Griffin’s lighting that makes full use of mood and shadow, Matt Otto’s sound that merges seamlessly with the live music, to Mariah Anzaldo Hale’s costumes that look like they haven’t been laundered since 1666.
The challenge in Richmond’s concept is that it’s such an overarching, cohesive and effective approach that it would still be a distinguished production if they’d used the traditional script. Likewise, a more straightforward directorial concept with Davenant’s script would still be noteworthy. The two together risk overkill as both elements vie for dominance.
This battle however does not overshadow the most formidable leads I’ve seen in Ian Merrill Peakes and Kate Eastwood Norris, longtime Folger company members, and a top-notch ensemble. Peakes and Norris have played Mr & Mrs Mac together at the Folger before; it shows in their fiery chemistry, and I can’t imagine the work required in un-learning a text they know so well and re-learning one where the differences are simultaneously subtle and overt.
Perhaps some of the cast in the opening scene are guilty of being a bit too showy in their portrayal of the Bedlam inmates, in a “Lookit me! I’m cuh-RAY-zeee!” way that made me nervous for what was to come. Thankfully, either they dialed it down or I acclimated to it. Chris Genebach and Karen Peakes are impactful as the Macduffs, particularly in the Davenant-scripted scene where she cautions him about if his ambition serves the interests of Scotland or himself. The witches, Ethan Watermeier, Rachael Montgomery and the operatic Emily Noël are masterfully and unnervingly spooky. Louis Butelli cuts a dashing Caroline figure as Duncan. Special praise is due for young Owen Peakes, all of ten years old, who being the son of Ian and Karen, clearly has theatre in his blood.
Diarist Samuel Pepys described Davenant’s unusual combination of tragic intensity, music and dancing a “strange perfection.” I can’t top that description, and this spellbinding, riveting production perhaps magnifies these elements even further. Folger has created an unmissable Macbeth.
Macbeth, by William Shakespeare, adapted by William Davenant, directed by Robert Richmond. Cast: Louis Butelli (Duncan), John Floyd (Donalbain), Chris Genebach (Macduff), Jeff Keogh (Seyton), Andhy Mendez (Banquo), Rachael Montgomery (Witch), Emily Noël (Witch), Kate Eastwood Norris (Lady Macbeth), Ian Merrill Peakes (Macbeth), Karen Peakes (Lady Macduff), Owen Peakes (Fleance etc), Rafael Sebastian (Malcolm), Ethan Watermeier (Witch), Jaysen Wright (Lenox). Musicians: Risa Browder, Nina Falk, Daniel Meyers, John Moran, Leslie Nero, Webb Wiggins. Musical Director: Robert Eisenstein. Set Design: Tony Cisek. Costume Design: Mariah Anzaldo Hale. Lighting Design: Andrew F Griffin. Sound Design: Matt Otto. Fight Director: Cliff Williams III. Resident Dramaturg: Michele Osherow. Production Stage Manager: Becky Reed. Produced by Folger Theatre. Review by John Geoffrion.
The post Review: Folger’s alt-Macbeth, a “strange perfection” appeared first on DC Theatre Scene.