Running Wild

The run of Macbeth has been wonderful; I was very sad to see it end yesterday.

The Witches, Bitches

Everyone in the show was so passionate and enthusiastic, and that is what really made the run so special.  When the energy of a cast is negative, it makes the process not an enjoyable one and makes me wonder, why are they even in the industry when there are so many dying to take their place?  I’ve definitely been suffering from a bit of Post Show Depression, but am focusing a lot of new opportunities and auditions.


Filed under New York, theatre

4 responses to “Running Wild

  1. Jacqui, your outfit was the most stylin!

  2. Pop

    “Their Hours on the Stage”

    Tony White is no upstart, and this is no surprise — his presentation of Macbeth was well conceived, brilliantly cast, and an interpretation worthy of the Bard’s poetry. After having directed a number of off-Broadway productions, Tony’s keen sense of theater offers an auspicious road ahead for the young director.
    The Beckman theater on 54th is about what one would expect in the days of dwindling budgets and scant investment. Although a building in need of lots of tender loving care, the venue still works. It’s right. It’s living theater, undaunted by lack of curtains and live musicians. Warts and all, the brick backdrop and wooden frames are a welcome treat for theater-goers overwhelmed by thundering speakers and laser light shows in Hell’s Kitchen. This is Shakespeare. Intimate seating and a no-frills set enhance the experience, and I imagined the same set was a mirror image of many Spartan venues throughout the centuries.
    If you seek movie-going explosions and special effects, this might not be your night’s entertainment but(!) I do a disservice — the battle scenes and mano-a-mano combat are choreographed with gusto and executed with skill. The passion seems all too real. And frightening.
    From the eerie witches séance to the climactic final scenes, this is a simmering stew, a steady crescendo. And with iambic pentameter singing the paces, this cast delivers.
    Ian Richard Barnes’ Macbeth is played with a quiet strength, exuding arrogance that belies his insecure dependence and weak spirit in the face of his shrew, Lady Macbeth. That villainess is also a masterful presentation as Ashley Marinaccio connives without compunction only to fall into the madness provoked by the unraveling of her plot.
    Layering the comic relief against the backdrop of murderous horror is Yan Kirichenko who plays the drunken porter with humor that never sidesteps the hideous nature of the castle’s orgy of murder.
    The supporting cast are all well played and, as has been effected for five centuries, the fine players assume various roles in bringing forth the epic. The cast throughout displays talent and credibility; this was performance diversity by truly serious actors.
    A standout performance from David Nash as Macduff cannot be understated. The gentleman’s projection, articulation, clear-as-a-bell delivery ensured that Shakespeare’s stanzas flowed with motion and emotion.
    Showcasing the fluid movement of the prodcution, the Witches absolutely dazzled. Brilliantly cast as bewitching vixens, more a gathering of eternal evil than of prophesy, the witches offered the movement and the motion so necessary in hypnotically ushering the story forward. White crafted the roles as a metaphors of dreadful evil, seductresses who marry kingly power to violence and cruelty. Jacqueline Chambers (who also played the Lady in Waiting and almost singlehandedly carried the entire play, if i may add), Jennifer Desmarais and Laura Grayson were remarkable — a trio of chilling and beguiling darkness lurking among the nobility and subconscious. I could almost sense the fog and chilling mists of Dunsinane as they summoned forth spirits in their unholy cauldron. As the story closed and Malcolm assumed his crown, the witches surrounded his gaze, and blackness was complete. Marvelous.
    After a fine ovation, I left the Beckman and encountered another treat. A peaceful but not empty sidewalk. How different it is to walk out of the theater without facing hundreds of thousands of Times Square tourists. It will not surprise me, however, if those Time Square mega-theaters are just where many of these artists perform someday, perhaps in the not too distant future.
    Three cheers for this terrific cast and wonderful production.

  3. Mom

    “Bewitching vixens!” LOVE the review! And CONGRATULATIONS on your new play!

  4. Uncle Bob

    Pop, I could not agree more!

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