October 25, 1986 |
Here is a sampling of stories that seven fundamentalist Christian families objected to in the Holt, Rinehart, Winston series of reading books: --"Cinderella," because it mentions magic. (Peter Pan was not objectionable because it depicted flying and not growing old as make-believe rather than magic.) --"Macbeth," by William Shakespeare, for its mention of witchcraft and magic. --"The Wizard of Oz," by L.
December 26, 1987
Has Martin Bernheimer lost his touch or was he being kind in his review of "Tristan und Isolde" ("A Vivid but Flawed 'Tristan,' " Dec. 8)? I listened to the broadcast on KUSC and thank goodness I did not pay to hear it. Who ever told Jeanine Altmeyer she should try to sing Wagner? I can't quite recall the last time I heard Altmeyer sing (I think it was a matinee from the Met), but I did not think much of her then. It is not a voice one wishes to remember. She is way out of her league in Isolde.
March 5, 2004 |
Among the many virtues in Circus Theatricals' and Odyssey Theatre's edgy, contemporary-styled co-production of "Macbeth," by far the most striking is Jack Stehlin's risky departure in the title role. Exploring Shakespeare's text in novel ways, Stehlin and director Casey Biggs reenvision Shakespeare's usurping monarch as a scrappy hyena rather than the familiar heroic warrior/poet brought down by overreaching ambition and hubris.
February 4, 2005 |
In "Macbeth," director-designer Tiger Reel ambitiously recasts William Shakespeare's tragedy of treacherous ambition in Arabic flavored, occult-tinged terms that are swift, sometimes subtle and often riveting. The porter (Brian Andrew Helm) ushers us in as his colleagues warm up and gossip around the circular platform and rigging ropes of Reel and Joseph Stachura's set.
June 19, 1988 |
The search for the reconciliation of Shakespeare's Macbeth with history's dissimilarities is an absorbing adventure. History records his life, citing contradictory facts and events. The inconsistencies do not imply confrontation to the Macbeth of Shakespeare; they merely confirm his greatness as a playwright. The Shakespearean narrative is easily traced through the northeastern Highlands on Route A96.
July 27, 2007 |
William Shakespeare's "Macbeth" receives a contemporary-dress adaptation from Australia that streamlines the stage play, primarily by shearing it of the subtlety of themes and characterization and reducing it to a series of bloody plot points. Director Geoffrey Wright ("Romper Stomper") and his co-screenwriter, Victoria Hill (who also stars as Lady Macbeth), set the gothic drama in the darkly chic world of a Melbourne gangster and his minions, but much gets lost in the translation.
July 28, 2007 |
The Independent Shakespeare Company continues its summer of free Shakespeare in Barnsdall Art Park with "Macbeth," which plays in rotating repertory with "Richard II" and "A Midsummer Night's Dream." Now in its fourth season, this crisply professional company offers solid renderings of the Bard atop the balmy promontory of Barnsdall, where playgoers picnic and lounge under the stars while watching the evening's entertainment.
December 3, 2004 |
Out, damned spot. And while you're at it, out, damned Duncan, damned Banquo, damned witches, damned Macduff, damned everybody. "Macbeth" at REDCAT is only Macbeth. And even that isn't quite true. "Macbeth (A Modern Ecstasy)" at REDCAT is the embodiment of Macbeth, the spirit of Shakespeare made flesh. It is the performance of a single actor, Stephen Dillane, and it is a performance -- prodigious, incandescent, incantatory -- that defies belief.
February 11, 1997 |
Why set "Macbeth" in the Toltec empire, an Indian civilization that dominated parts of Central America from the 11th to the 13th centuries? Don't look for an answer in Will & Company's irredeemably bad version of the Scottish play, which, indeed is set there. For one thing, the actors look ridiculous. They are dressed in what is essentially adult diapers with flaps, exposing the wrinkles and folds that the flesh is heir to.
July 19, 2012 |
Meet the Macbeths, a charming, upwardly mobile couple grieving over the death of their only child. Director Jessica Kubzansky's interpretation of Shakespeare's “Macbeth,” currently on view in a satisfyingly foggy, bloody production by the Antaeus Company, opens with a funeral. Macbeth (Rob Nagle in the performance I saw; all the roles are double-cast) and his wife (Tessa Auberjonois) place a tiny shrouded body in a coffin, wordlessly but movingly communicating the couple's grief and mutual love.