It’s the Scottish play in Scotland, but also in New York, and in the 80’s – not to mention in the round. There is so much to talk about in BoxedIn Theatre’s production of Shakespeare’s Macbeth, which went up this week in the StAge. It was, in short, a treat. The performances were captivating without exception: Lydia Seed was thrilling to watch, and left me furious with Shakespeare for not putting Lady Macbeth onstage twice as often as she is. Bailey Fear was exquisitely unbalanced as Macbeth, and he and Seed radiated the toxic, irresistible chemistry which fuels the tragedy from beginning to end. The characters in this play are complicated, and these nuances shone through across the board: the strength and raw emotion of Macduff (Molly Williams); the reluctant, inexplicable charisma of Malcolm (Xavier Atkins); the genuine good nature of Banquo (Henry Roberts), which seems to mark him for death from the start. Ana Fati, Naphysa Awuah, and Cameron Chavers deserve special mention as the witches – evil has never looked so fun.
First off, I hate fairy lights in plays. I have to lay my cards on the table. Deploy them as well as you like, I’m going to sneer at their use anywhere except on the pin-board of your first-year bedroom. Sorry. While we’re on confessions, I want to note that I don’t really know how to review new writing – should I talk about the production or the text? Both?
Because of the show’s emphasis on audience choice, Owl Eyes has chosen to send two reviewers to capture different experiences of the show. Each review will have its own rating.