Review of reviews: Stage
Macbeth
Macbeth
Brooklyn Academy of Music, New York
(718) 636-4100
Subscribe to The Week
Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.
Sign up for The Week's Free Newsletters
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
★★★
“Keep your eye on the hacksaw,” said Linda Winer in Newsday. Audiences at this gory version of Shakespeare’s Macbeth should constantly be watching for where the next surprise attack will come from—that is, if they can, “even for a moment, pull their attention off Patrick Stewart.” The 67-year-old Shakespearean master, who gained fame in America starring in Star Trek: The Next Generation, is “a source of dark wonderment” as the Scottish king. Director Rupert Goold transplants the action from Dark Ages Scotland to Stalinist Russia, highlighting the theme of political backstabbing. But he also ratchets his production’s gore-factor high enough to make it seem a “blood relative of Night of the Living Dead.”
Goold’s love of excess gives this Macbeth an enjoyable go-for-broke spirit, said Michael Sommers in the Newark, N.J., Star-Ledger. “The show’s got projections of Soviet newsreels, an ominously screeching soundtrack,” even a murder scene in a crowded railway train car. Looking for maximum shock value, Goold’s production throws in everything but the kitchen sink—“actually, it’s got one of those, too, positioned downstage where Lady Macbeth viably tries to wash away her sins.” He even stages the play’s famous banquet scene twice. First we see it from the point of view of Macbeth, who’s haunted by the ghost of his victim Banquo. Then we get the perspective of his guests, who see no ghost and thinks the old guy is bonkers. The result is a brilliant visual spectacle. But exactly what all this “elaborate toil and trouble is meant to signify, however, is anyone’s guess.”
What holds this over-the-top production together is “the brilliant performance at its center,” said Ben Brantley in The New York Times. Stewart’s Macbeth seems acutely aware that his every grasp for power only leads him closer to annihilation. He falls prey “to errant thoughts more appropriate for a poet or a philosopher than a military commander.” You can see why Macbeth needs a strong woman to keep him on his vengeful track. As Lady Macbeth, Kate Fleetwood has “the hard-boiled aspect—not uncommon on Park Avenue these days—of the trophy wife who has married up and is not about to relinquish her perch.” When this power couple sit together making plans in their “knife-filled kitchen,” they aren’t planning dinner.
Sign up for Today's Best Articles in your inbox
A free daily email with the biggest news stories of the day – and the best features from TheWeek.com
-
Today's political cartoons - November 16, 2024
Cartoons Saturday's cartoons - tears of the trade, monkeyshines, and more
By The Week US Published
-
5 wild card cartoons about Trump's cabinet picks
Cartoons Artists take on square pegs, very fine people, and more
By The Week US Published
-
How will Elon Musk's alliance with Donald Trump pan out?
The Explainer The billionaire's alliance with Donald Trump is causing concern across liberal America
By The Week UK Published
-
If/Then
feature Tony-winning Idina Menzel “looks and sounds sensational” in a role tailored to her talents.
By The Week Staff Last updated
-
Rocky
feature It’s a wonder that this Rocky ever reaches the top of the steps.
By The Week Staff Last updated
-
Love and Information
feature Leave it to Caryl Churchill to create a play that “so ingeniously mirrors our age of the splintered attention span.”
By The Week Staff Last updated
-
The Bridges of Madison County
feature Jason Robert Brown’s “richly melodic” score is “one of Broadway’s best in the last decade.”
By The Week Staff Last updated
-
Outside Mullingar
feature John Patrick Shanley’s “charmer of a play” isn’t for cynics.
By The Week Staff Last updated
-
The Night Alive
feature Conor McPherson “has a singular gift for making the ordinary glow with an extra dimension.”
By The Week Staff Last updated
-
No Man’s Land
feature The futility of all conversation has been, paradoxically, the subject of “some of the best dialogue ever written.”
By The Week Staff Last updated
-
The Commons of Pensacola
feature Stage and screen actress Amanda Peet's playwriting debut is a “witty and affecting” domestic drama.
By The Week Staff Last updated