(Nile Scott Studios)
“Macbeth” by William Shakespeare. Directed by Steven Maler. Presented by Commonwealth Shakespeare Company. On the Boston Common, through August 6.
By Michele Markarian
As smoke ominously fills the stage set for Commonwealth Shakespeare’s rousing production of “Macbeth,” there’s a feeling of hushed anticipation over the significant crowd that’s gathered at the Common. Now in its 27th year of bringing free Shakespeare to Boston audiences, Commonwealth Shakespeare’s productions are accessible and riveting to witness. This year is no exception. With the text running on a screen beside the stage, the drama is easy to follow, should you need it.
Macbeth (Faran Tahir) and Banquo (Omar Robinson) have just defeated two armies in battle, much to the gratitude of the Scottish king, Duncan (Joe Penczak). Victorious from the war, Macbeth and Banquo are approached by three witches (eerily played by Jesse Hinson, John Blair and Annika Burley), who predict that Macbeth will be made first Thane of Cawdor, and, ultimately, crowned King of Scotland. Macbeth laughs the incident off until Duncan’s men come and tell him that in gratitude for his victory in battle, Duncan has named him thane of Cawdor. Incredulously, Macbeth declares aloud that there already is a thane of Cawdor. However, the current thane has betrayed Duncan by fighting on the side of the enemy and is put to death as a traitor. Macbeth, intrigued, writes his wife (Joanne Kelly), telling her of the witches’ prophesy. This is where the lust for power and trouble meet, for once Lady Macbeth gets a glimpse of what’s at stake, there’s no end to the carnage that she and her husband are capable of, beginning with Duncan himself. After Duncan and his guards are murdered, ostensibly by the guards, who Macbeth kills out of feigned revenge, Macbeth is crowned king. It’s a hollow and short-lived victory.
Under Maler’s taut direction, “Macbeth” simmers at a slow boil, with composer Mackenzie Adamick’s portentous score providing a low thrumming underneath the action. Tahir’s Macbeth veers from confident to despairing to enraged, as one would expect a man to do whose fate is controlled by auguries. Maler also manages to bring out the odd bits of comedy in the play, which is a nice break from the tension. A banquet hosted by the new king and queen for the nobles ends up in shambles, as Macbeth has visions of his former friend Banquo, whom he has also killed. Kelly is quite funny as she attempts to normalize her husband’s flights from reality in front of their confused guests. John Kuntz draws laughs as the bawdy Porter (Kuntz gets MVP in my book for stepping in at the last minute; learning his lines in a day, he is equally effective as the Sergeant and the Doctor).
The turning point comes when the witches throw Macbeth three last prophecies: beware of Macduff (Nael Nacer), a noble who objects to Macbeth’s seizing the crown; no man born of woman will do him harm; his safety is assured until Birnam Wood comes to Dunsinane. All of this is reassuring to Macbeth, as everyone is born of woman and forests can’t move. Still, he decides to kill Macduff’s family while Macduff is in England, conspiring with Duncan’s heir Malcolm (Marianna Bassham) to reclaim the throne. Nacer’s response, upon learning that his family is no longer, is utterly heartbreaking as he swears revenge. Kudos to fight director Robert Walsh – the final combat scene is dangerously thrilling, and as vivid as it gets. Luckily everyone appeared smiling and unharmed in the curtain call, as we leapt to our feet and applauded the victory of the righteous. For more information, go to: https://commshakes.org/production/macbeth/
