Colorado Shakespeare Festival kicks off an indoor season with a surprisingly enjoyable take on ‘The Scottish Play’
The Colorado Shakespeare Festival kicks off the season with Macbeth, a play just as much about people working together as people led astray by greed, desire and power. With the CSF’s storied outdoor Mary Rippon Theatre under construction this year, shows are being held in the newly remodeled indoor Roe Green Theatre. It’s a switch from the under-the-stars experience many are used to, but with an all-star cast of Colorado talent, this Macbeth still shines brightly.
Shakespeare Scottish tragedy begins with Macbeth (Lavour Addison) and Banquo (Matthew Schneck) defeating the Norwegian army in battle, which includes the Thane of Cowdor, a traitor. On their way home from battle, they encounter the three weïrd sisters (Noelia Antweiler, Ilana DeAngelo, Devi Reisenfeld), who tell Macbeth that he will be King of Scotland and that Banquo will father kings. Once home, Macbeth is encouraged by Lady Macbeth (Shunté Lofton) to kill the king. Macbeth becomes the new king and kills again and again out of fear of losing his crown. Civil war erupts to overthrow Macbeth, resulting in more death.
At first, it seems that no matter which way the story is bent, it maintains its recognizable human core of ambition and regret. And yet, good does prevail in the end. Director Wendy Franz takes on the Macbeth themes that have dominated for centuries and does a great job of exposing perhaps another intent by Shakespeare. People who turn to each other, learn to trust and then work together towards a common goal, ultimately win.
Jacob Dresch as Malcom and Sean Scrutchins as Maduff | Photo: Jennifer Koskinen
For example, while Lady Macbeth (Lofton) reads the letter from her husband about his encounter with the weïrd sisters and his new title of Thane of Cowdor, Lady MacBeth isn’t cunning and shrewd while thinking about how her husband can become king. She is worried that he’s too kind to murder Duncan and needs her help to achieve his goals. She may be an enabler and an abettor, but support and loyalty thread her musings, not ambition.
Lofton’s performance is convincingly resolute and unswerving — a breath of fresh air from how Lady Macbeth is typically portrayed. As Macbeth moves away from Lady Macbeth, focused on his own wild agenda, she unravels. She is especially intense and yet tender when sleepwalking, as she repeatedly washes her hands to remove the spots of blood she “sees.”
Lavour Addison’s Macbeth is intense and yet vulnerable. At first, when the witches tell Macbeth he will one day rule Scotland, he’s horrified by the thought of what that means for the people in his way. He then fears failure when discussing how to murder Duncan. But, with the support of his wife, he begins his murderous journey.
Lavour’s performance captures the unraveling of a good man. As king, he is a booming personality and a power-hungry tyrant with all the flattery and finery — oh how the mighty fall. Presented with many opportunities to do the right thing, Macbeth goes mad with guilt instead, as he has those who threaten his crown permanently removed. For MacBeth, it truly is lonely at the top.
The Weïrd Sister: Noelia Antweiler, Ilana DeAngelo and Devi Reisenfeld | Photo:
Jennifer Koskinen
Humanity prevails
Malcolm (Jacob Dresch) and Macduff (Sean Scrutchins) come together while hiding in England. Despite initial uncertainty, Malcolm begins to trust Macduff. The two then gather troops to attack Macbeth. Dresch’s Malcolm is regal and thoughtful. His delivery shows his appreciation for the poetry of Macbeth with a real sense of rhythm and relish of Shakespeare’s grammatical acrobatics.
When Ross (soundly played by Jessica Robblee) delivers the news to Macduff that Macbeth had his family slaughtered, Macduff grieves, making space for both his grief and his weakness. Ross encourages Macduff to take revenge. Scrutchins is vulnerable and yet masculine as he says, “I shall do so … “But I must also feel it as a man. I cannot but remember such things were, that were most precious to me.”
Both Malcolm and Ross remain with Macduff as he grieves and then becomes resolute in his purpose to end Macbeth. The comfort of his friends shows us all that in times of distress and violence, people should remember to care for one another.
Lavour Addison as Macbeth and Shunte Lofton as Lady Macbeth in, you guessed it, Macbeth | Photo: Jennifer Koskinen
Many noteworthy performances
There are other characters that take form and shape in this play. Noelia Antweiler, Ilana DeAngelo, Devi Reisenfeld as the weïrd sisters are impeccably in sync with every head turn and every word uttered. They aren’t scary witches, but women engrossed in their tasks and are wonderful to watch. Antweiler brings fabulous fourth-wall-breaking humor as the drunken porter awakened by a knocking at the gate of Macbeth’s castle.
Liam Scrutchins and Karen Slack as Macduff’s son and Lady Macduff respectively, share a tender familial scene that is then ripped away from the audience when they are murdered at Macbeth’s command. (The role of Macduff’s son is played alternately by Oliver Kilpatrick.)
The costume design by Meghan Anderson Doyle includes stately and intricate pieces as well as colorful ones — such as the filmy and flowy pieces worn by the weïrd sisters. The set design consists of three separate areas where the characters perform. Because of this, scene changes are smooth and hardly noticeable. There’s also fog, but designer Matthew Crane doesn’t overdo it, and it effectively establishes the mood.
Crane fills the sets with textures — from the foliage scattered among all three sets and the fall leaves adorning the castle wall to the stone on the walls and up the stairs. However, those that don’t know the intricacies of the story may find the projections confusing. Although Projections Designer Garrett Thompson does a great job with the imagery, the fact that Hecate, goddess of witchcraft, is angry with the three weïrd sisters for meddling in Macbeth’s life without her may be lost on most.
Although MacBeth is typically set on a dark and spooky stage, Lighting Designer Jon Dunkle brings up the lights, and the characters, set and costumes shine as a result. Not to be left out is the fight choreography by Benjamin Reigel. The fight scenes are well done and fun to watch with acrobatics and dramatic ends.
This portrayal of Macbeth surprised me. It’s a tragedy, and yet it’s most enjoyable. What separates this portrayal from the others is how the humanity of the characters comes to the front. It’s this humanity that shimmers amongst all the carnage that makes it a winner.
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