SUBMIT ABOUT FAQ
PEOPLE COMPANIES VENUES
LOGIN NEW USER PRODUCTIONS
REVIEWERS SIX DEGREES
A User-Driven Site for Theater in Atlanta, Georgia
Macbeth
a Drama
CATEGORY : DRAMA
by William Shakespeare

COMPANY : Folding Chair Classical Theatre [WEBSITE]
VENUE : Windmill Arts Center [WEBSITE]
ID# 5462

SHOWING : March 21, 2019 - April 14, 2019

[REVIEW THIS PRODUCTION]

PRODUCTION DESCRIPTION

Folding Chair Classical Theatre presents Macbeth, an innovative production in which six actors play all the roles.


CAST & CREW LIST
Director Marcus Geduld
Costume Designer Mary Saville
Lady Macbeth Lisa Blankenship
Various Robert Bryan Davis
Various Andre Eaton
Various Ryan Lamotte
Various Stuart McDaniel
Various Alan Phelps
Click to Submit Cast & Crew Info for this production
REVIEWS

[REVIEW THIS PRODUCTION]

Immersive
by playgoer
Tuesday, April 16, 2019
4.5
You enter into the pre-show with the five male members of the cast onstage. Blood-red lighting saturates the screen forming the upstage wall. Stools and tables and various percussion instruments surround the playing area. An infant-sized coffin sits downstage center. Two men are at either side of the stage, playing percussion instruments that blend into the ominous sound design. The other three men, wearing burgundy red hooded cloaks, crouch and move with deformed gaits, occasionally letting out with "when" and "where." This blends into the show’s opening (and closing) of "When shall we three meet again?"

Mary Saville’s costumes feature burgundy for jackets and cloaks and black for shirts and dresses. The men wear camouflage fatigue pants and combat boots. This gives a nice cohesive feel to the design. As actors move from role to role, slight modifications indicate the change -- a crown for King Duncan, an eye patch for Banquo, glasses and a white jacket for the doctor. Vocal changes accompany many of the varied role assignments, but not so stark in nature as to become jarring.

Marcus Geduld has directed the show to move smoothly through its 1 hour 50 minute uninterrupted runtime. Many moments are highly stylized, as when an actor about to be killed moves downstage and reacts, face to audience, as knife strokes stab at the position he recently was on stage. There’s no blood, but it’s highly effective. Forays into the audience area make fine use of the center aisle in the Windmill Arts Center space.

While "Macbeth" is the shortest of Shakespeare’s tragedies, cutting of the script has occurred. This is usually pretty seamless, with the glaring exception being the murder of Lady Macduff and her children, which is symbolized by having the female cast member (Lisa Blankenship) carry the coffin upstage and mourn over it. Since she has previously mourned at the coffin downstage as Lady Macbeth, indicating that she has "given suck," we have been led to believe the coffin contains the body of a dead Macbeth scion. This scene is followed by a longish one between Malcolm (Ryan LaMotte) and Macduff (Stuart McDaniel) that stymies the headlong pace of the script. Once the final battle scene arrives, however, things move quickly to a conclusion.

Performances are all good or better. Andre Eaton Jr. doesn’t have a lot to do, but provides a threatening presence in many of his scenes. Stuart McDaniel has fabulous diction in all his roles, contrasting with Alan Phelps, whose generally modern American speech patterns don’t mesh well with Shakespeare’s verse. Mr. Phelps’ physicality, though, is unrivaled. Ryan LaMotte adds some tiny bits of humor as the Doctor, and Robert Bryan Davis has all the manly power Macbeth should have. Lisa Blankenship, whose perky blonde beauty doesn’t immediately suggest "Lady Macbeth," nevertheless triumphs in the role, using facial expressions, physicality, and vocal power to become the cold-blooded usurper the role demands.

"Macbeth" is done frequently at the Shakespeare Tavern with a more literal Elizabethan flavor and a more extensive cast. Doing a stripped-down version like this from Folding Chair Classical Theatre allows the power of the piece to come through more directly. It’s viscerally exciting. When technical elements, direction, and acting all occur at a consistently high level of quality, it creates theatre that demands to be seen. [POST A COMMENT REGARDING THIS REVIEW]


[REVIEW THIS PRODUCTION]

OPENING SOON
Snap, Honey!
Good Acting Studio
CLOSING SOON
Friel Deal Two Plays After Anton Chekhov
by Brian Friel
Aris
Jump
by Charly Evon Simpson
Actor's Express
Never Too Late
by Sumner Arthur Long
Players Guild @ Sugar Hill
Oliver!
by Lionel Bart
Atlanta Lyric Theatre
Red
by John Logan
Yard Dogs Ensemble
Snap, Honey!
Good Acting Studio
Tapas IV, The Great Divide
by Benedict, Bray, Bruna, Freeman, Martin, Shima, Steadman, Whitehorn, Wang,
Academy Theatre
The Cake
by Bekah Brunstetter
Horizon Theatre Company
Working
by Adapted by Nina Faso, Stephen Schwartz, Gordon Greenberg; Songs by Lin-Manuel Miranda, Schwartz, Craig Carnelia, James Taylor, Micki Grant, etc.
Out of Box Theatre
NOW PLAYING
Almost, Maine
by John Cariani
Centerstage North Theatre
Daddy Long Legs
by John Caird (book) and Paul Gordon (songs)
The Legacy Theatre
Friel Deal Two Plays After Anton Chekhov
by Brian Friel
Aris
Hands of Color
by Kimberly Monks
Synchronicity Performance Group
Jump
by Charly Evon Simpson
Actor's Express
Midnight at the Masquerade
by The Murder Mystery Company
The Murder Mystery Company in Atlanta
Morningside
by Topher Payne
Onstage Atlanta, Inc.
Murder Impossible: Fortnight Edition
by Marc Farley
Agathas: A Taste of Mystery
Never Too Late
by Sumner Arthur Long
Players Guild @ Sugar Hill
Oliver!
by Lionel Bart
Atlanta Lyric Theatre
Red
by John Logan
Yard Dogs Ensemble
Tapas IV, The Great Divide
by Benedict, Bray, Bruna, Freeman, Martin, Shima, Steadman, Whitehorn, Wang,
Academy Theatre
The Cake
by Bekah Brunstetter
Horizon Theatre Company
Working
by Adapted by Nina Faso, Stephen Schwartz, Gordon Greenberg; Songs by Lin-Manuel Miranda, Schwartz, Craig Carnelia, James Taylor, Micki Grant, etc.
Out of Box Theatre

©2012 TheaterReview.com. All rights reserved.