Review: Macbeth. We Happy Few’s minimalist entertainment still manages to spook

It amazes me how most a We Happy Few entertainment association is means to accomplish by their signature, minimalist approach, and their prolongation of Macbeth exemplifies this. With a expel of 5 portraying a play’s lofty series of characters in an intimate, black box setting, Macbeth is deliciously eerie. It’s a quick-paced chronicle of The Scottish Play that left me spooked.

Raven Bonniwell and Danny Cackley in We Happy Few’s Macbeth (Photo: Mark Williams Hoelscher)

For anyone who isn’t informed with Macbeth, a play follows a suggested Macbeth’s (Danny Cackley) skirmish into stupidity after he listens to a anticipation of 3 witches. They tell him that he is to be a King of Scotland, that leads him to turn energy inspired and dedicate murder.

A tiny expel and space lead to some artistic choices, one of my favorites being what Director Hannah Todd has finished with a witches. The witches’ prophecies fill a room in a form of resounding whispers (sound design, Ethan Balis). I’m mostly not a fan of pre-recorded voice-overs being used in live theatre, yet this outcome consistently gave me goosebumps. Todd’s instruction unequivocally brings out a creepiness of a play, either it be by a approach Macbeth and Lady Macbeth (Raven Bonniwell) are blocked to poise menacingly or how Banquo’s (Desirée Chappelle) resounding figure appears appearing and dark underneath a theatre lights. Balis’s choice in song also rises a gut-twisting annoy of a plot.

Stefany Pesta in We Happy Few’s Macbeth (Photo: Mark Williams Hoelscher)

And with so many characters being played by a handful of people, we was left generally tender by a seamless dress changes. With cunning layering by Costume Designer Moyenda Kulameka and entrances holding place from behind a audience, a expel is means to renovate but issue.

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Macbeth

closes Mar 30, 2019
Details and tickets
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One vivid weakness, though, is a forced and cringey comedy (something that astounded me from We Happy Few, as they customarily have a laughs down pact). Even a porter scene, a impulse that is created to offer as comic relief, comes off as try-hard. When Stefany Pesta stumbled around a room as a inebriated porter, she reminded me of a college freshmen who overacted their intoxication during parties. we wish this prolongation didn’t try to insert muted comedic moments–specifically one relying on a extravagance of a unicorn onesie, only unnecessary.

But, flops in comedy aside, this prolongation is value examination for Bonniwell’s serpentesque opening of Lady Macbeth and Dylan J. Fleming’s Macduff. When Fleming relays Macduff’s anguish over losing his family, his weighted speed and weeping cries fill a room with a pain of a damaged man.

Like anticipating a fishbone in a dainty soup, it’s a contrition that a few moments of attempted comedy contaminate this artistic take on Macbeth. Though, fishbone aside, we do consider a appearing creepiness creates this prolongation worthwhile.


Macbeth created by William Shakespeare. Directed and blending by Hannah Todd. Featuring: Raven Bonniwell, Danny Cackley, Desirée Chappelle, Dylan J. Fleming, and Stefany Pesta. Lighting designer: Jason Aufdem-Brinke. Costume designer: Moyenda Kulameka. Stage manager: Sam Reilly. Sound Designer: Ethan Balis. Intimacy director: Emily Sucher. Fight director: Casey Kaleba. Production manager: Alex Davis. Assistant theatre manager: Ken Johnson. Props master: Ken Johnson. Dramaturg: Keith Hock. Assistant director: Emily Pazniokas. Producer: Bridget Grace Sheaff. Marketing director: Kerry McGee. Artistic executive of melodramatic experiences: Kerry McGee. Executive artistic director: Raven Bonniwell . Reviewed by Emily Priborkin.

 

Running time: 1 hour and 30 mins with no intermission

Rating: 4 stars

 

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