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Rhythmic Emotions

April 18, 2018


Oppressive silence… movement divorced from sound… For a show based on a women’s perspective, “her tragedy”, this adaptation of The Scottish Play (Heidi Powers Directing) guts you hard from go. The good bye, the unwilling dance, oh the dance, screams unheard… traumas ignored. Macbeth-325

It never is easy putting on Macbeth, not one of his longer works, there is complexity and nuance to be conveyed in word and deed. This adaptation pulls the audience along through what would be longer bits with motion and atmospheric tone weighted like gravity. You are drawn forward deeper into the story with each passing moment.

Motion is key, this adaptation of Macbeth is fluid, alive, palpable with motion. Dance, movement, of course fighting, and emotion all swell ebbing and flowing in beautiful currents. The Play starts quite quickly with an attempted escape via dance. Alwayse subjective, the choreography by Heather Lynn is beautiful and painful to watch. Lady Macbeth (Cyanne McClairian) conveys an ache on stage with such depth as to show the Queen in a light I hadn’t seen before. Too often The Lady Macbeth is cast in poor light, some greedy power hungry witch herself manipulating her good Lord and would be King.

Macbeth-262Showing things in new light is entirely the point of this adaptation, and new lights illuminate cycles often unseen in our own society. Patterns of repetition, generation to generation, pains passed on over and over.

Ever present through this version is dance, be it the social dance of avoiding persons or the beautiful dancing of Cyanne a fluid energy permeates this version of Macbeth. Dance, movement is the unspoken, language of Women.  Movements unending: making ourselves smaller, or moving quickly to the hand of a girl friend to avoid a horrid man. All of a woman’s life is a dance, and this shows in Macbeth, personified especially in Lady Macbeth.

Macbeth-73Fluidity of life’s pulse isn’t the only fluid element to this adaptation. More than ever the two faced natures of every character shown in multiple scenes becomes apparent. Macbeth (Brendan Weinhold) pulls off the manic swing of his “affliction” in beautiful fashion. The mania of a world dropping away to your own mind while needing to be present at all times shown through strains of face at switch. With one drawback in delivery at times Brendan confuses volume with pains inexpressible. When dealing with dialogue hard to follow as The Bard’s Plays often are, sudden spikes, over crescendo, to inaudible may convey pain but not the emotion of it. The spikes almost like a crack in a beautiful illusion. Such volume emotive issues, a minor thing in a strong delivery from, curtain to curtain, Brendan in a beautiful version of Macbeth with a depth of character a joy to witness.

The entire play, flows beautifuly, each recurring character shows sway and rhythm a change from scene to scene. Highlighted via double casting, each actor stretches and shows multiple facets of talent. Corinna McCoy as the Stranger brings a puckish delight to a strong archetype of a Witch. Spinning this into drunken irreverence when serving the castle unseen by the main players, but highlighted by her mirth and general put outed-ness by the general state of affairs to which they find themselves subjected. Esther Mira appearing as Maiden to Lady Macbeth a stalwart friend who would stand by her Lady until the end. The Mother (Josie Adams McCoy) brings a warmth to the role in a way that would cut any too close to those she would protect.Macbeth-197

Each part of the show brings a smile to remember in the writing of this review.


Macbeth His story Her Tragedy (directed by Heidi Powers, Written by William Shakespeare) appears Friday Saturday through April.

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