I love all things Shakespeare, particularly modern iterations and adaptations of his works, and I’ve had good experiences with Idle Muse Theatre Company. So naturally when I learned that Idle Muse was mounting a new version of "What the Weird Sisters Saw," I was pretty excited.
Fifteen years ago, when Idle Muse was in its infancy, the company’s Artistic Director Evan M Jackson conceived/created an adaptation of the tragedy "Macbeth" from the perspective of the three witches: "What the Weird Sisters Saw". And now, in 2024, with Tristan Brandon’s assistance and with several of the original actors and crew, Jackson (still Artistic Director at Idle Muse!) has revisited the witches for a complete rework of his haunting fantasy.
Jackson’s Weird Sisters aren’t ‘weird’ in the modern sense of the term, nor are they subject to the Judeo-Christian concept of evil women in league with Satan [we don’t have much truck with lots of Judeo-Christian concepts, particularly those involving women!]. No, Jackson’s Sisters are magical women, druidesses whose connections to the land, to their beloved Scotland and to the forces of Nature allows them to commune with spirits both living and dead; spirits from the present, the past, and the future. Between their provenance with their teacher Hecate and with the powerful forces of open spaces, the Sisters are able to conjure visions of events destined to unfold in the future.
Murron (Caty Gordon), the lead (eldest? strongest? she’s definitely the leader here) is having premonitions; by the pricking of her thumbs, she’s convinced that something wicked this way comes … but what – or who – is it? Her Sisters Dana (Jennifer Mohr) and Alastriona (Jamie Redwood) share her disquiet and together they concoct a potion to explore the mystery. They find riddles surrounding Macbeth, Thane of Glanis and brave Scots general under King Duncan; they prophesy Macbeth (stunningly played by Joel Thompson) will wear Duncan’s crown, but that future kings will be descended from his friend and fellow general Banquo (Troy Schaeflein) … and we all know how Macbeth feels about this notion.
Dissatisfied with mere augury, Murron becomes obsessed with not simply divining the future, but altering the actions she’s foretold. Sisters Dana and Alastriona are less sanguine, but they respect Murron and, despite their reservations, they follow her lead as she repeatedly conjures the shades of Macbeth, Banquo, and others. As Macbeth’s avarice becomes undeniable, Murron seeks to refashion his machinations and thus to redeem him. Joel Thompson rocks the role of the dark Thane, portraying an aspect of innate royalty – the gleam of nobility divined by the Sisters– that is curiously not at odds with the audience’s foreknowledge of his wickedness. Of course, despite Murron’s interventions, that wickedness gradually escalates, and the noble Macbeth forges his own doom.
Brendan Hutt is superb as The Porter, whose sporadic appearances both entertain and enlighten … though, actually, not so much with the latter, as his inebriated proclamations are not only veiled by his jocularity but are often, frankly, evasive. Frustration amplifies Murron’s unease; yet the greater the perplexity, the stronger the fascination – we all know how that works! Thus, she is lured ever deeper into the mind and motives of Macbeth, her increasingly reluctant Sisters trailing in her wake. Both Dana (Jennifer Mohr) and Alastriona (Jamie Redwood) become more distinctive in their caution of Murron’s inquest, allowing each actor to further display her skill – did I already say the cast is overall superb?
Case in point: Mara Kovacevic’s sterling portrayal of Macbeth’s not-so-sterling wife. Initially Lady Macbeth, recognizing that the witches are at cross purposes with her vaulting ambition, appears to be deliberately misleading the Sisters. No less baffling is the Lady’s descent into madness, and she further mystifies the Sisters with her macabre hand-washing and eerie mutterings. It’s so interesting to watch this play where we know the storyline of its progenitor, yet are totally absorbed with the Sisters’ nescience!
Hecate (Elizabeth MacDougald) is often onstage, covertly overseeing her acolytes, but unlike Murron she doesn’t intervene. Rather, Hecate allows Murron’s – all the Sisters’ – cabal to evolve, likewise its grisly human consequences. Only at the bloody finale does Hecate reveal herself to her subordinates and upbraid their presumption. I’m sorry we didn’t hear more from Hecate, as MacDougald was a compelling Goddess of Magic, one I’d like to have known better. Likewise, Troy Schaeflein (Banquo) also left me hungry for more of his brilliant stage presence. The story provided more opportunity for us to enjoy Watson Swift’s performance as Macduff, and Erik Schnitger as Duncan and Orion Lay-Sleeper’s Malcolm also used their limited stage time well. I’ll say it again: overall, the cast was exemplary, and each gave fine performances.
The cast was displayed by an equally amazing production crew; they were marvelous as a whole, but I must give a shoutout to a few remarkable aspects. Jennifer Mohr’s costumes were striking and accurate. Most productions I’ve seen of "Macbeth" dress the Scotsmen in kilts, but the ‘kilt’ as we know it today did not actually appear until the late 18th century, having evolved from the feileadh mor (‘big wrap’) that was characteristic in the 15th to 16th centuries; and Mohr outfitted her Scots in feileadh. I also noted that the doctor wore a plague mask, as the Black Death was a consistent threat across Europe at the time. Thank you, Jennifer Mohr, for your due diligence! And I loved The Porter’s criss-crossed belts of dangling fetishes and charms. I could have sworn I spied the head of a Barbie doll in there – if so, I forgive the anachronism in deference to Ryan Gosling’s Oscars gig. I must also offer lavish kudos to Laura Wiley and L.J. Luthringer for lighting & projection and music & sound (respectively). The collaboration of these two artists contrived both light and sound into actual cast members, so effectively did they ‘speak their lines’ of atmosphere, ambience, and tonality. Bravo!
The excellence of the fighting was no surprise to me – after all, violence designer (and assistant director) Libby Beyreis is a member of Babes with Blades Theatre Company, Chicago’s very own troupe of Weird Sisters. And I thought it appropriate for Tristan Brandon to oversee the properties; the co-adaptor of the play would have an intuitive ken [still got Gosling on the brain!] for the objects required. Stina Taylor and Breezy Snyder wisely composed a minimalist set, allowing the story to unfurl via the performances rather than through static objects. As a fervent aficionado of Chicago’s Black Box theatres, I appreciate the challenges these spaces pose for set design and was pleased to see Birnam Wood plausibly wrought without hindering the (considerable!) action.
My sole concern is one common to many – most? – Shakespearean productions: the complexity of the language often made it difficult for me to hear the lines. Granted, that difficulty is partially mine – gotta love getting older! – but some may, I hope, be remediable. For example, further rehearsals and performances will give Luthringer time to fine-tune sound levels to ensure the voices are not eclipsed – but please! without effacing any of the incredible music and … well, noises.
Elizabethan England, William Shakespeare, and the play "Macbeth" are all imperatively and inescapably masculine. With "What the Weird Sisters Saw" Jackson has toppled this patriarchy at its base: sorry fellas, that was then, this is now and it’s a women’s show! The gender imparity created thereby is vital and I wouldn’t want it attenuated in any way.
The script was extremely dense and might benefit from judicious editing. At times I felt the actors were almost tripping over their own tongues in their effort to deliver every word at a brisk (not to say breakneck) pace.
Perhaps Jackson, with text & dialect coach Carrie Hardin, could address all these matters by slowing everything down just a wee bit. The occasional judicious 1-2 second pause would give my poor old brain a chance to travel between then and now, between male and female.
Such a complex production needed all the work of stage manager Becky Warner and her assistant Lindsey Chidester, technical director Line Bower, production manager Shellie DiSalvo, dramaturg Cori Lang, and all the dozens of other people required to bring a vision before the footlights. It takes a village!
Highly recommended, "What the Weird Sisters Saw" will play at The Edge Off-Broadway Theatre through April 14, 2024.
