Review: MACBETH at New Mexico Shakespeare Festival

“Fair is foul, and foul is fair.”

Few lines capture the contradictions of Macbeth quite so neatly. The New Mexico Shakespeare Festival's production offers moments of genuine theatrical pleasure alongside choices that left me wanting more.

Director Levi Gore has situated the action in Civil War-era New England, a fascinating decision that opens the play to many an interpretation. However, the concept seemed to remain in aesthetics only, with the characters’ actions and motivations adhering closely to their traditional counterparts — no bad thing. The setting offered an intriguing framework, but I wanted to see it do more.

In this sense, I felt there was a missed opportunity in the portrayal of the three witches. The shift in setting, as Gore points out in his director’s notes, draws parallels to the rise of spiritualism and communion with the dead among upper social circles. This historical context provided an opportunity to reimagine the witches not simply as supernatural hags, but as perhaps mediums or spiritual advisors within the respectable society these characters inhabit. They might have been women welcomed into drawing rooms, their influence even more potent as it is socially sanctioned. Imagine the unease of watching these ordinary women deliver Macbeth’s prophecies, their power masked by fashionable spiritualism; or their warnings misunderstood and written off as parlor theatrics and fad. Much to think about!!

Despite this direction, their Act IV "Double, double toil and trouble; fire burn and cauldron bubble,” was excellent and a highlight of the production. Here, the writhing, slithering, possessed bodies and minds, half-truths, and prophecies were centered, showcasing a great ensemble. The sisters are played by: Merritt C. Glover (First Witch/First Murderer); Rachel Lindsay (Second Witch/Second Murderer); Jamie Coffey (Third Witch/Third Murderer)

Macbeth, played by Scott G. Hartman in his first production with the company, gave a fine performance, if occasionally languid. There were moments when the stirring of his deepest moral convictions was palpable, and this bubbling inner turmoil rose to the surface, especially in scenes opposite his wife. The performance had flashes of the psychological complexity and unraveling the role demands, but I wanted greater consistency. 

Lady Macbeth was the standout. Megan McCormick delivered a varied and complex portrayal of one of Shakespeare’s greatest villains (heroines? I support women’s rights, but more importantly, I support women’s wrongs!) Her first appearance, reading her husband’s letter before calling upon supernatural forces to use her and fill her with the necessary cruelty to whack the king, was astonishing. There was a beautiful stillness and resolution in this delivery, one that suggested an inner life that may be at odds with her actions.

The famous sleepwalking scene was equally effective. Desperately attempting to wash the blood of their deeds from her hands, she erratically confesses to as her own guilt cracks and penetrates her stony shell. Here, the production found the psychological unraveling that I wanted to see more consistently throughout the play. 

Jonathan Graff offered a sturdy Macduff, though I struggled to find his moments of heightened emotionality entirely believable. A weeping Macduff does not a Macbeth make; indeed, if an actor cannot readily access that emotion, there may be something even darker and more interesting in a stoic and still response to unbearable grief, providing unsentimental clarity in what must be done. I would have welcomed a more deliberate choice in this regard.

Graff shone in the climactic final duel with Macbeth, bringing a solid footing and confidence to his confrontation that ends the wrongful king. (I wrote Harrison Ford in my notes. :) )  The fight and sword choreography by Zane Barker was excellent, well executed by the actors and among the production’s strongest technical elements.

Supporting roles were all well played, with clear stakes, relations to each other and well-tempoed iambic pentameter. 

Scenery by Ryan Jason Cook and lighting by Riley Lewis created an eerie vignette in which the action took place. Costumes by Kaylee-Lynora Silcocks Gore were gorgeous and period-appropriate, down to the details. 

Other logistical choices, however, detracted from the overall performance. Scenic transitions were poorly timed and insufficiently covered. The large centerpiece representing the home repeatedly rotated between its interior and exterior façade, requiring great crew effort in nearly full audience view. More deliberate choreography of entrances and exits could have redirected the audience’s attention elsewhere onstage. A soundscape also sometimes competed with the dialogue. Turned down a few ticks, it might be perfect. 

The production was generally well done, and I applaud the company for taking risks in its programming and interpretations of well-loved plays. The commitment and dedication to creative work are to be celebrated and supported. Macbeth runs through November 1 at the Keshet Dance Center in Albuquerque. 

Cast: Scott G. Hartman (Macbeth); Megan McCormick (Lady Macbeth); Owen Conway (Banquo); Jonathan Graff (Macduff); Bailey Hunt (Malcolm); Chase Kimball (Ross); Eric T. Smith (Duncan); Merritt C. Glover (First Witch/First Murderer); Rachel Lindsay (Second Witch/Second Murderer); Jamie Coffey (Third Witch/Third Murderer); Sebastien Moulton (Donalbain/Doctor); Michelle Charisse (Lady Macduff/Gentlewoman); Coral Schroeder (Macduff’s Daughter); Marc Lynch (Siward/Caithness/Lord); Michael Hernandez (Young Siward/Fleance); Sasha Menendez (Captain/Menteith/Lord); William Berg (Porter/Seyton).

Creative Team: Owen Danan Martin (sound and music); Riley Lewis (lighting design); Quinten Avila (props); Kaylee-Lynora Silcocks Gore (costume design); Ryan Jason Cook (set design); Zane Barker (fight choreography); Alexandra Avila (assistant director); Donna M. Barra (stage manager).

Dates: Fridays–Sundays, October 9–November 1, with additional performances on Thursday, October 15, and Thursday, October 22.