Trying my hand at a public critique for my friends/colleagues. Light and shadow, good and evil, magic and madness... flames burning against a veil of darkness. The images formed by Guerrilla Shakespeare Companys Macbeth this week were stark and vivid. In my experience, the Scottish Play is a fool-proof fire starter when it comes to imagining the what ifs of the human condition, free will, the sway of the supernatural and more. And while Shakespeares poetry oozes a potent frightfest for this Halloween season, the Guerrilla players offer a haunting experience: A firelight seance in the round. We are greeted by a bare stage, packed ground beneath our feet, five lit torches dancing quietly, and five rows of chairs facing a minute, unlit firepit. The lights go out and we are left alone just out of the fire lights reach. Thus unfolds so fair and foul a tale you have not seen directed by Nathan Smith; sharp, complex, staff-combat violence choreographed Tony Carter; and set to an efficient, guerrilla warfare look designed by Keilani Gleave. After a little trouble getting the ‘central’ firepiece started, what ensues was an excellent showcase of ensemble work calling forth the spirit of the Bard. I felt like I should be holding a candle to add to the mood. Starring Ian Durant, Sceri Sioux Ivers, Nate Allred, Joshua Richard Durfey, Trent Dahlin, Tony Carter, Luke S Johnson, Jayson LeBaron, Paris Abigail Moore, Madison Ford, Amanda Dayton, Harrison Lamb, and Jane Wright, this cast composed vibrant craft and showed exceptional promise. Durant unfalteringly carries the weight of the title role and descends frighteningly into the chasm of corruption and power. Dahlin (Macduff) and Carter (Malcom) were Lord and Prince in their own right, skillfully filling their character with heavy hearts and a tenacious control of the text, super-charging the latter parts of the show. And the three cunning, recurring Witches --among the best looking “filthy hags” I’ve ever seen. Are they supposed to be ugly? The text says yes, but who’s complaining if a make-up budget wasn’t an option?-- covered a range of roles and appeared to be led by Ford, whose mature air and calm power seemed better suited for Hecate herself, had the Weird Sisters’ master not been cut from this particular script. This shrouded vision and challenging script was not without its bumps in the night. Some characters simply got lost in the darkness, their presence all but overcome by dark or certain contrasting performances. Meanwhile some others got lost in the emotion, rushed phrases –sometimes entire speeches--, and occasionally left the audience groping to catch up. While sadness and despair were handled effectively, madness often mistook more for frenzy rather than some fear that the grip on reality wanes. Of particular note: the Sisters’ eerie melody motif was stirring, but strident at times. This may have been a choice of composition but if so it might have used a few more moments of clean pitch to prove deliberate those less savory chords. But, as an ensemble production, I will leave it up to the cast and your own true judgment to recognize whether such criticism is welcome. For me, a few acting exorcisms here and there could further purify what is already one hell of a good haunt. All things considered, as a grassroots production of young professionals conjuring some Shakespeare to enrich their undoubtedly frightening schedules, Nathan Smith’s direction and this high caliber cast was top notch. It is a night well spent to see and hear these artisans work. Guerrilla Shakespeare Company’s Macbeth closes tonight at 7:30 at the Diamond Z Arena, 11 N. Cross Hollow Dr. in Cedar City. Tickets are $10, bring change for hot cocoa. While the acting is hot, the weather is getting colder: Bring a blanket and warmers.
Posted on: Fri, 01 Nov 2013 18:54:07 +0000
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