Theater Review: 'Macbeth' by Shakespeare on the Sound

Review by Connecticut Critics Circle member Nancy Sasso Janis

Shakespeare on the Sound has produced its 29th season with a phantasmically inspired rendering of William Shakespeare’s tragedy “Macbeth.” The thoughtful direction of what is billed as “Shakespeare's iconic tale of morality, murder, and madness” is by Axel Avin Jr.

Avin directs the play for the second time and notes that the story resonates on a much deeper and somber note in the current political climate. “Macbeth to me now serves as a cautionary tale of the corruptive nature of absolute power. On a granular level, it paints a bleak and honest portrait of the human ego. Pulled back, it shows a world destined to repeat its demise, doubling down on itself in reaction to an entitled few’s pursuit of personal gain and vengeance.” The director ends by reminding us of the element choice and the altruistic spirit.

The director’s vision includes the three witches in some pivotal scenes, as they appear to pull the strings of other characters in the tragedy. Many of the ghostly elements are handled with impactful visuals and even some humor. Avin does not stray from the text, but leaves a mark on the work with his choices.

Equity member Christopher Douglaston Ryan tackles the challenging role of the title character in his Shakespeare on the Sound debut. Ryan carries off the egotistical arc of his character, as he scrambles his way to the top.

Equity member Mariah Copeland, who this year earned an MFA from Yale, embodies the role of Lady Macbeth with fierce determination before she drifts into madness.

Michael McIntire, an Equity member, does well in his first show with this company as Banquo and Old Siward, as does Cooper Jennings, a Julliard graduate, who returns to the company to portray Malcolm. Andrés Montejo also returns to this stage to play the Bloody Sergeant and Menteith.

Emily Gustafson makes her Shakespeare on the Sound debut in the role of staff-bearing Witch 1 and a murderer. Trevor Burch, a New Haven-based actor who is a graduate of SCSU that has worked at Seven Angels Theatre, takes on the role of Witch 3, Murderer 1 and Seyton. Akaina Ghosh (they/them) stands out in the supporting role of Ross.

New York City-based Derek Emerson Powell plays the role of Lennox and Bianca Rogoff appears as Witch 2 and Lady Macduff. Understudy Justin Dusenbury has stepped into the role of Macduff.

Equity member Joe Penczak has acted in a whopping 14 of Shakespeare’s plays. He plays the royal Duncan and the doctor who is summoned to Macbeth’s castle, but he is at his best in the role of the castle Porter who weaves through the audience on his way to answer the door.

In the ensemble are understudies Sarah Kinsman Chute, Lauren Fitzgerald, and Kenneth Sweeney.

Kudos to seventh grade student Biel Orriols, who takes on the role of Macduff’s young son and Harrison Osborne, an eighth grader from New Canaan, who plays Fleance.

The cast members work upon and in front of the set design by Brian Prather, but also make extensive use of the marked aisles through the seated spectators. The rear of the slightly raised set invokes a traditional castle, which is dressed with a table for the banquet by choreographed movements from cast and crew. There is also a (collapsable) stone corner for the weird sisters and the usual offstage death of Lady Macbeth. From their seat on the lawn, spectators are able to watch the performers return to the backstage area by walking along the street.

The slightly modernized costumes designed by Sharne Van Ryneveld Nel, help to tell the story. Lady Macbeth’s changes are in variations of olive green, and the gentlemen wear less-fussy period gear.

Early arrivals were able to watch the performers rehearse the fight choreography directed by Ray A. Rodriguez. Equity member Lauren Nicole Jackson works as the stage manager, assisted by Abigail (Abba) Wilson. The lighting design by Jamie Roderick is stunningly effective in this outdoor setting, with sound design and haunting compositions by Chad Raines. Considering the challenges of an outdoor space, the sound was well done for the most part. Maia Robbins-Zust serves as technical director.

An hour before the performance begins, the Apprentice Company performs the free “Kids Pre-Show” for children of all ages behind the education tent at Pinkney Park. The Apprentices prepare the show, script it and act. “Seeing that is far better than reading (the helpful) Program or Cliff Notes,” writes Cherie Burton, Board President. This is a delightful, thirty-minute adaptation of the mainstage play that is presented using everyday language and some quotes from the text.

Aaron Simms is the managing and producing director of Shakespeare on the Sound, with Nicholas Urda the associate artistic director and director of education.

The performance runs two hours with a ten-minute intermission. Performances continue through June 29 (and hopefully the weather will cooperate.) Pinkney Park is located at 177 Rowayton Avenue Norwalk, CT 06853. Nearby parking is available at the Old School Field located on Witch Lane. Tickets at www.shakespeareonthesound.org

All photos by Kaitlin La Du and Shakespeare on the Sound