Hipp's 'Macbeth' features anthropomorphic action 'n' symbolic suits ... by Jessica Arnold
 

Once again, Lauren Caldwell's vision surpasses the norm. 

"Noorrrm!" 

No, not that Norm, people. We're talking Shakespeare. "Macbeth," one of Shakespeare's hell-bent tragedies, is now playing at the Hippodrome under Lauren Caldwell's visually aesthetic direction.

Decked out in black leather and sadomasochistic chain mail, the men of King Duncan's army set up the mise-en-scene that takes place amidst nature's chaotic bounty. It is from these chains that Macbeth yearns to break free and pursue the crown for himself. Symbolically, Macbeth represents the weak link in the chain - his emotional temperament cannot handle the implications of his pursuit. 

Lady Macbeth, in her blood-red velvety glory, slithers like a snake to get the deed done. And all because a few witches planted a seed in the fertile ground of Macbeth's mind. Speaking of witches, Caldwell transformed Shakespeare's traditional three femme witches into a transsexual soiree of bestial creatures. Mark Chambers, most notable for his portrayal of Freud in "Hysteria," plays ring-leader to these twisted, carnie-like fiends while donning a horse tail and a "City Of Lost Children" eyepiece. This strange, evil carnival theme is again seen later in the murder of Macduff's family. 

But back to the witches. They combine to create an unholy family, with Chambers as the father and the others as his children. Alison Jim plays a mute, child-like witch who speaks through dance. The imagery is fantastic and bizarre, and, for those who have clown phobias, beware … for "something wicked this way comes." 

The Hipp's production takes place under a ceiling of trees, a forest floor and eerie light that is refracted through the branches. In this environment, humans, like animals, claw their way to the top and Macbeth is no exception. Scott Kealey gives a commanding performance as Macbeth, and Sara Morsey is amazing as always as Lady Macbeth. Although "Macbeth" is Shakespeare's shortest play, the performance seems quite long on the Hipp stage. Those with short attention spans should pop some Ritalin. Despite this small snag, Caldwell's vision of deviancy-run-amok makes the show a must-see. 

"Macbeth" is playing at the Hippodrome until March 25.
 
 
 
 

Gainesville Sun, Scene Magazine March 9, 2001

This 'Macbeth' is more about  spectacle

A spectacular  performance of  William  Shakespeare's  "Macbeth" fills the  stage at the  Hippodrome State  Theatre. Notable for  its use of stage  effects, this is a  "Macbeth" that  resonates with the  sound of drums and  dazzles the eye with  brilliant lighting,  balletic movements,  waves of vapor  emanating from a  trap door, gorgeous  costumes and  swashbuckling  swordplay. 

As a spectacle, the Hippodrome's  "Macbeth" is gripping theater. But the moral of  the tale told in Shakespeare's immortal words  tends to get short shrift.    Set in Scotland in medieval times (although this  production has no particular time period) the  dark, brooding tale goes to the heart of ambition  unchecked by a moral code; greed that ultimately  leads to self-destruction. 

It begins when army generals Macbeth and  Banquo come across a group of witches who  predict that Macbeth will become king and  Banquo will be father to kings.    Waiting at home to receive this news is Lady  Macbeth, who is only too happy to speed her  mate to his ascension to the throne. She plans  the murder of Duncan, the seated king, and when  Macbeth falters, not only does she urge him on,  but assists in carrying out the nefarious plot.  Once the murder is accomplished, there is no  turning back, as one evil act succeeds another  like dead leaves flying in the wind. 

Lauren Caldwell, who directed "Macbeth," moves  the production with the speed of a great storm.  The action is fast. The scenes are crisp. The play  seems to pass in a breathless few moments.    While the spectacle is grand, the acting in this  Hippodrome production tends to be flat. There is  one extraordinary performance by Sara  Morsey, who is riveting as the manipulative Lady  Macbeth. Morsey not only walks the walk, but she talks the talk that is  Shakespeare. Although her famous sleepwalking  scene looks like it's taking place in a steam bath,  Morsey overcomes that circumstance with her  truly anguished lament. Her first act scenes with  Macbeth are loaded with sexual provocation. 

Scott Kealey, who plays Macbeth, the  greed-driven, would-be king, speaks  Shakespeare's language well. However, in his  early scenes he does not appear to be conflicted  which makes for a letdown in his ultimate ruin.  The staging of Macbeth"s famous "Tomorrow and  tomorrow and tomorrow..." is questionable, as it's  recited almost perfunctorily. 

Jason Marr plays Banquo in genial style and  Timothy Altmeyer is McDuff, the nobleman who  takes on Macbeth.    Joy Schiebel, Alison Jim, Bonnie Harrison and  Mark Chambers, who play the witches, slither and  slide among the vapors that escape from Mihai  Ciupe's spare, commodious set. They make a  dramatic foursome, with Chambers doing  especially fine work. 

Marilyn Wall-Asse designed the show's splendid  costumes. Robert P. Robins is responsible for the  powerful lighting.    Shakespeare's words may take a second seat to  the action in this Hippodrome production of  "Macbeth," but as spectacle alone, it makes a  fierce impression.