It’s not Shakespeare for Dummies. Rebel and Misfits Productions’ offering of Macbeth: Come Like Shadows would not be a good choice for those unfamiliar with the Bard.
Nevertheless, in many ways this is an exciting production. It’s innovative, taking the audience from a meeting spot near Soulard Market, via bus, to the site of the production itself, a deconsecrated church on the North Side, explaining that we, the audience, are political refugees and giving a set of “rules”, emailed and then again read aloud en route. It’s feminist, with a plot twist that I won’t reveal. And it’s beautiful.
Yes, beautiful. Gorgeous, in fact. The sanctuary is hazy inside, plaster peeling, John Ontiveros’ lighting carefully planned. The audience has access to Joe Novak’s entire set, so long as they stay out of the actors’ way. It fits very well with the location, but it’s what was here long before Rebel and Misfits arrived which becomes the frame and backdrop for all the rest. My first careful look up at the vaulted ceiling was, between the light and the haze, almost other-worldly. It’s like walking into a dream.
Much of the casting is excellent. Macbeth (Sean Patrick Higgins, the co-director) disintegrates well, stepping from functional to delusional – well, perhaps gracefully is not the adverb of choice, but with absolutely no grinding of gears; we see it happening before our eyes as we stand in the nave of the church. His Lady Macbeth (Kelly Hummert, artistic director and producer of the company and the other co-director of this show) feels sinuous from our first sight of her writhing alone in her red-draped bed.
Kudos to Spencer Sickmann’s Macduff and to Shane Signorino’s Banquo for excellent characterizations, as well. Duncan (Jeff Cummings)’s dignity is painstaking and poignant. His son Malcolm (Paul Cereghino) holds his emotional fire well until it erupts. But all the cast’s efforts are sometimes for naught. That lovely, moldering architecture catches any words not directly aimed at the individual listening and bounces the lines from surface to surface to surface. Swallowing up a large percentage of the dialogue makes it a challenge to keep up with what’s happening for those who don’t know the story pretty well, especially since this script has some deviations from the usual plot line.
Audience members need to plan on standing, walking, being careful of steps and cables on the floor of the former sanctuary, and being able to climb a couple of flights of stairs. They’re reminded occasionally of their refugee status, some of which seems politically relevant to contemporary times, but doesn’t quite fit into why we refugees are in the estate and castle of a Scottish general. No intermission, but a cash bar beforehand after being processed through refugee red tape.
Not for everyone, but the visuals and a great deal of the acting make it worthwhile.
Macbeth: Come Like Shadows
through November 10
Rebel and Misfits Productions