While she sings, the rest of the cast sit on the stage and eat from bowls, presumably the soup the witches were making at the beginning.ĭuring the play itself, which features minimal scenery and modern dress, there seems to be a concerted effort to make us aware at all times that this is a company of actors who are putting on a play. The staging sometimes feels like an acting exercise conducted during a rehearsal. We frequently see cast members using portable smoke machines to create the fog effect. Putting all these odd choices together, Gold seems to be using “Macbeth” to celebrate the return of live, in-person theater. In one way, this feels appropriate, even lovely, because “Macbeth” is the final show to open in the first full Broadway season in two years, a season plagued with the persistent effects of COVID-19. This company has been hit particularly hard at the performance I saw, two central characters were being performed by understudies.īut this apparent subtext, admirable as it is, doesn’t have much to do with this particular play. In general, Gold’s approach in this production doesn’t seem to serve the specifics of “Macbeth,” certainly not with much force or clarity.
Many of the actors portray two or three roles, there are few clearly articulated scene changes. #DANNY PHANTOM GAY SEX COMICS PORTABLE#.
