Displaying items by tag: macbeth

Invictus Theatre Company’s latest production of The Tragedy of Macbeth, adapted and directed by Sarafina Vecchio, delivers a potent, intense experience that brings Shakespeare’s tale of ambition vividly to life. This production leans into the raw and brutal aspects of the play, creating an atmosphere thick with dread and foreboding. With excellent performances and a thoughtfully designed set, Invictus’s Macbeth stands out in the Chicago storefront theatre scene as a bold approach to one of Shakespeare’s most famous works.

At the heart of the production is Mikha él Amin in the title role. Amin brings a formidable presence to Macbeth, portraying a general-turned-tyrant with both vigor and subtlety. His portrayal balances Macbeth’s inherent ferocity with moments of doubt, remorse, and even fear as he descends into madness. Amin’s performance is well-matched by Carolyn Kruse as Lady Macbeth, who brings a fierce, complex energy to the character. Kruse’s Lady Macbeth is haunting, ambitious, and unyielding, yet she skillfully peels back layers to reveal her character’s vulnerability and psychological unraveling. Amin and Kruse ignite the stage with their magnetic performances, creating scenes of palpable intensity that hold the audience spellbound.

Adding to the haunting atmosphere are the three witches, portrayed by Christy Arington, Tessa Dougherty, and Julia Rowley. Their performances are eerie and grounded, capturing the supernatural essence of their characters while also bringing an almost elemental quality to the stage. Their dynamic movements and interwoven voices create a sense of otherworldly presence that lingers throughout the play, underscoring the tragic path Macbeth chooses.

The supporting cast is equally impressive, with Michael B. Woods as Macduff and Diego Longoria as Malcolm delivering strong performances. Woods’s portrayal of Macduff is both intense and deeply felt, particularly in his reaction to the tragic news about his family. His confrontation with Macbeth is powerful, filled with a mix of righteous anger and despair that grounds the play’s emotional climax. Longoria brings a sense of resolve to Malcolm, effectively conveying his transformation from a hesitant prince to a determined avenger. Joshua Razavi as Lennox, Aimee Kleiman as Rosse, and Charlie Diaz as Banquo also add depth to the story, each bringing unique qualities to their roles.

Manuel Ortiz’s scenic design and Cindy Moon’s costume design work in harmony to create a visually arresting production. Ortiz’s set—a sparse, Scottish clearing with stone carvings—evokes the stark beauty and rugged landscape of the Highlands. The carved stones suggest an ancient, mythic past that mirrors the play’s themes of fate and inevitability. Meanwhile, Moon’s costumes are richly layered, providing insight into each character’s status and role. Her war outfits are particularly notable, with armor and fabric choices that reflect the grueling, blood-soaked conflicts in the story. The costumes not only enhance the period feel but also convey a sense of realism, showing the wear and tear of lives shaped by relentless battle.

Under Vecchio’s direction, the production maintains a taut, relentless pace. The play feels almost claustrophobic in its intensity, with each scene building steadily toward the tragic climax. Vecchio’s staging highlights both the psychological turmoil of the central characters and the brutal violence that punctuates their journey. The fight choreography by Violent Delights is visceral and realistic, adding to the bloody, unforgiving tone of the production. In many ways, Vecchio’s direction echoes the grandeur and darkness typically associated with larger, more established theaters, making it clear that Invictus Theatre is a force in the storefront theatre community.

Overall, Invictus Theatre Co.'s Macbeth is a triumph. With exceptional performances, evocative design, and tight, effective direction, the production successfully brings Shakespeare’s tragedy to life in a way that is fresh yet faithful to the original text. It’s an immersive and unforgettable experience that cements Invictus Theatre’s place among the top-tier Chicago theatre companies.

Highly Recommended
When: Through Dec. 15
Where:  Invictus Theatre @ Windy City Playhouse, 3014 W Irving Park Rd, Chicago
Tickets: $25 - $38
Info: invictustheatreco.com

This is the fourth or fifth time I’ve seen Shakespeare’s MACBETH, though not since the 2009 Babes with Blades’ all-female-cast production. That was memorable, and continues to stand as my favorite rendition of The Scots Play. 

But Three Crows comes damn close!  Edited and most ably directed by Dusty Brown (th/th), MACBETH is Three Crows’ first production since lockdown. I’ve seen nearly a dozen shows since the lights came up in Chicago theatres. Companies are pouring the creative energy from all those dark seasons into their comeback(s), and the result is spectacular; nothing short of a Renaissance.

One issue often being addressed is gender identity. Programs include actors’ pronouns in their bios, and shows are cast without regard to gender.  And BTW, for anybody listening out there, I’m still waiting to see Macbeth produced with the Thane & his Lady cast as a male/male couple. Just sayin’!

This production puts superb actors in every role. The part of Macbeth is obviously key, and Steve Peebles (h/h) rises to the challenge magnificently, from his plaited red hair and beard to his compelling voice. His every line, every expression, eloquently express the tragedy of this brave general degenerating into madness. Though incited by witches and wife, it is Macbeth’s own long-suppressed lust for supremacy that ultimately compels him to slay his liege lord. 

Alex Amery (h/h) is a splendid Macduff, and when he proclaims “Macduff was from his mother’s womb / untimely ripp’d” I broke out in cold shivers. King Duncan is another crucial, if short-lived character, but Stephen Dunn (h/h) makes the role noteworthy, as do Brandon Beach (h/h, Malcolm), Eamon McInerny (h/h, Lennox), Richard Bronson (h/h, Ross), Nathaniel Negron (h/h, Banquo), and Kit Ratliff (th/th) as Fleance.

In addition to the eerie Weird Sisters, Hannah McAuley (sh/h), Judith Laughlin (sh/h), and Lindsey Becker (sh/h) also play Seyton, Porter, and Page, roles that exhibit Shakespeare’s customary snippets of humor. Though it’s hard to summon a snicker in the midst of treason and carnage, they truly are hilarious! But when these same players that lately provoked glee don their ghoulish tree-branch tiaras (or are those bones?), their very presence is fearsome. With their serpentine postures and ghoulish expressions, the witches hardly need invocations to send chills up one’s spine.

Catherine Councell (sh/h) is captivating as Lady Macduff. Her timid manner and extravagantly gravid belly make her violent death particularly moving.

And so I come finally to Lady Macbeth, played by Three Crows’ Artistic Director Selena Lopez (sh/h). Many actors play the Lady as contemptible, but Lopez brings a complexity to the role that gives us deeper understanding of her motives, and of the Macbeth marriage. The Queen is childless, but such is the covenant between them that Macbeth does not cast her aside. Somehow he knows he will never achieve greatness without her initiative, but they both fail to credit the decency in their souls that makes their ambitions ungovernable, so both become demented by self-reproach. And despite his fealty to his barren wife, it is Macbeth’s lack of an heir that motivates his decision to slay Banquo, whom the witches prophesied will father a line of kings. This lineage is horribly displayed to Macbeth in his remorseful specters.

Which touches on the amazing work of the Creative Team. Where to begin in such a brilliantly produced work? Set & Props Designer Kelliann Keeler (sh/h) uses the limited space ingeniously – the addition of a cistern at center stage is a clever solution to several scenes, from the Macbeth’s washing their hands to disposal of Banquo’s corpse and its reappearance as a ghost, along with the other apparitions conjured by King Macbeth’s insanity.

None of these effects could be credible without the skillful work of Lighting Designer Piper Kirchhofer (sh/h). Flashes of lightning are augmented by rolling thunder (thank you, Sound Designer Samuel (h/h) Fitzwater-Buchart!), and the lights are key to setting the mood throughout. Speaking of sound, I can’t say if Director and Stage Manager Amy Rappa (sh/h) specifically instructed the soldiers to stomp heavily during entrances and exits, but it’s effective on several levels, not the least of which is the vibration shaking my chair. Technical Direction comes from Nathaniel Negron (h/h), in addition to his work as Banquo. House Manager Sam Karpowitz kept the venue safe for the sold-out event.

Stage fighting is a challenge in such close quarters, but Violence Designer Michael Bevis (h/h) manages by staging the battles in slowed motion – a realistic approach, as the characters are using the claidheamh-mòr, or Scottish broadsword. This two-handed sword used by 16th-century Highland Scots averaged five feet in length, and its weight made it a singularly unwieldy weapon.

Kudos to Costume Designer Selena Lopez (in addition to her other trivial [sic] duties as Artistic Director and Lady Macbeth!). I do so love men in skirts! (as I once told a kilted Scotsman in Glasgow; he was so tickled he gave me a bite of his fish-n-chips – both the chips and his legs were scrumptious). And does Lopez also manage the Makeup? It’s brilliant: Macbeth’s eyes are piercing – and I already mentioned the Weird Sisters.

It doesn’t matter how many times one sees MACBETH – new productions always evoke new details to exclaim over.

At the Redtwist Theatre in Edgewater. HIGHLY RECOMMENDED