Published: July 17, 2008 04:44 pm            

‘Macbeth’ a must see for those enticed by visuals

TERRE HAUTE — In a program note from Crossroads Repertory Theatre Company’s production of “Macbeth,” director Chris Berchild describes his desire to “streamline” Shakespeare’s tale of deceit and “make it more intimate and immediately accessible” to audiences.

In the production that opened July 11, the audience saw his streamlining surface in a number of ways. This production of a play that is generally performed with a run time between 3 and 4 hours, is certainly audience-friendly for those inclined to watch their watches. It dismisses audiences after less than 21/2 hours.

Although the action of this play convenes in a number of locations, this production’s set is transformed primarily with the repositioning of small set pieces — effectively streamlining scene changes.

Costuming choices are also designed with efficiency in mind. With a raise of a hood, or the removal of a sash, actors morph into different characters before our very eyes.

Indeed, audiences benefit from Berchild’s choice to streamline, but, oh, those poor technicians.

The spectacle that grew out of Berchild’s imagination is a feat that no ordinary playhouse could pull off, and that magic places this summer production in a category by itself.

Those who know Berchild’s work will recognize the inventive style that is unique to this director. He likes to play with visuals, and his crew does so here through projections of scenic images on the stage’s flat surfaces. Accompanied by lighting that casts shadows within shadows and smog that seemingly creeps from every orifice of the stage, this production is a spectacle that you wouldn’t ordinarily associate with Shakespeare.

All of these fresh insights and interpretations of the world of Macbeth make this production a must see for those enticed by strong visuals. But Shakespearean purists have no reason to shy away from this production.

Even though Berchild’s adaptation requires 18 characters to be performed by only five actors, none of the Bard’s primary themes is sacrificed. We see the fall of Macbeth through arrogant behavior that demands vengeful punishment, and we shake our heads at the foolishness of a man who becomes too engrossed in his egotistical plot to halt that foolishness.

We also explore fully the idea of fate versus free will as we watch Macbeth become a murderer while pursuing the destiny that the three witches have revealed to him — namely to become king.

Berchild concentrates most on the theme that examines the natural order of relationships. Macbeth’s world is one that values loyalty and yet there is no loyalty between a husband and wife, no camaraderie in warfare and no hospitality extended by a host to his guests.

Berchild’s decision to have three actors perform 16 roles underscores this turmoil. But there is a downside. At times, and by no fault of the actors, it is difficult for the audience to understand who is loyal to whom.

Because Shakespeare’s characters rarely call out the name of the person they are addressing, the revolving dramatic personae sometimes makes it difficult for the audience to discern which character the actor is portraying.

All of this makes for a production that requires strong actors to bring their best to the stage, and watching several of them showcase their abilities is a pleasure. Particularly strong is the performance of Ryan Imhoff. As the porter, Imhoff makes a crude and drunken fool purely delightful. Imhoff’s intensity doesn’t allow any of his character’s words to be dismissed. His portrayals provide a new level of insight into Shakespeare’s obscure meanings. Julie Dixon and Mark Douglas-Jones are equally well cast here showcasing the skill that years of acting training and practical application have helped them perfect. As the witches, this trio is hard to top.

The unfortunate shortcoming in the acting lies in Brandon Wentz and Carolyn Rodkey as Macbeth and his Lady. It’s not that the actors render poor performances. Theirs are the meatiest roles, and as such the two actors shoulder a tremendous amount of responsibility. Their program bios suggest that neither of them have the seasoning they need that would enable them to find the intricacies that make Shakespeare’s work sing. Let’s face it — that’s why most production companies don’t routinely tackle Shakespeare. With Wentz and Rodkey dropped into the middle of a production that dazzles with its special effects and overflows with supporting talent, the momentum noticeably stalls when the Macbeths take control of the stage.

Because the lighting, sound and media design are essentially three additional characters in this production, Michael Jackson, Mitchel Lathrop and Jamal Ishmon deserve high praise. Berchild’s streamlined production was only made possible by the incredible demands placed on this production team.

“Macbeth” continues with performances in Indiana State University’s New Theater on Tuesday and July 25 at 7:30 p.m. Call (812) 237-3333 for more information.

        

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