Traditionally in the theater, it’s considered bad luck to name Macbeth and especially to quote from it when a production is near. Director Jonathan Epstein, whose previous work with Shakespearian plays and his FSU/Asolo Conservatory students was outstanding, has defied tradition directing The Scottish Play. Too bad, because the result is truly, as Professor Epstein quoted without knowing he was predicting: “horrible imaginings.” The production overwhelms the play. A major problem is scenic. Although the background symbolically changes colors, often to bloody red, a conglomeration of screened panels takes over for individual scenes. That’s effective for staging backlit fight scenes, like shadow theater, but they are constantly moved about to become different geographic places or encompass meetings or designate rooms, as in castles. Prone, one makes a bed. In what seems like Furniture Moving 101, actors move all the screens. Thus characters’ motives are not the only things that may collide. When arranged down front in a large circle to encompass a meeting, they make it impossible for onlookers in farthest side seats to see or hear what’s happening at the meet. Thunder sounds do crash and lights so frequently flash into the audience that hearing aids may get a workout and sunglasses might come in handy. Actual music, though, is appropriate in type and use. Costumes vary from mod (Lady Macbeth’s gowns) to mangy (nothing much to change the Weird Sisters’ “wild... attire” when the actresses double as servants) to mysterious (military get-up of what period?). And why do the men wear boots but the women usually go barefoot? Has anyone at the Conservatory ever been in the Scottish highlands in a cold stone structure or outside with its grouse “blanket . . . of night” even in summer? As for the acting, Brett Mack is believable but hard to pity. His knifing (not in the text) of Macduff’s baby in his cradle is pure melodrama, whereas Scott Kuiper’s reaction to it as Macduff is effectively restrained emotionally but shows him determined to revenge. Most of the men do well, following the example of Michael Fisher, kingly indeed in his brief early appearances as Duncan the king. Jillian Courtney, Kelly Elizabeth Smith, and Jessie Taylor, who play The Wayward (or Weird) Sisters, do the ultimate job as Witches, and with help of costume changes turn into believably noble family members. But the Witches scream so loudly and contort so much that it’s hard to understand all their dialogue. Though Danielle Renella illuminates Lady Macbeth’s murderous ambition and steely resolve, she screams steadily and with such volume that she seems to have wandered in from rehearsal as Kate the “Shrew.” There is no banquet in this production, so Macbeth is taunted by the murdered Banquo during a dance. That’s pulled off well enough, but shock comes just after the death of the tragic hero is accomplished behind a phalanx of screens. Lights out! Then lights on and the cast emerges from behind the screens for the curtain call and a DANCE. Yes, the traditional way to bring every good person in a play happily together and end a comedy!
