Roshni Shukla, Joy DeMichelle, Kamal Bolden and Mildred Marie Langford. [Photo by Craig Schwartz]
But before we get going here, let’s talk about the legendary curse of the play. As any Shakespeare aficionado or even casual fan, will tell you, the play is often referred to as “the Scottish Play”, or “The Bard’s Play,” but never Macbeth, within the actual confines of a theater.
Because of the play’s powerful storyline and themes of witchcraft, murder and betrayal, it is often associated with tragic events that have occurred during its production since it was first performed in 1606 before the King of England.
How seriously do actors take this curse? Let’s just say, Very. Suffice to say that the play’s influence stretches long and deep over the hundreds of years since its debut.
The play tells the tragic story of a Scottish nobleman’s rise to power, driven by ambition and spurred by prophecy, of course. As Pasadena’s A Noise Within recounts the narrative, the play begins with Macbeth (Kamal Bolden) returning from a victorious battle. He encounters three mysterious witches–the Weird Sisters (Joy DeMichelle, Roshni Shula, Mildred Marie Langford)–who predict that he will become the Thane of Cawdor and, eventually, the King of Scotland.
When Macbeth is named Thane of Cawdor shortly afterward, that prophecy begins to kick into high gear.
The murder and mayhem and betrayal thus ensue. Okay, that’s all the plot you get for now.
A Noise Within is no stranger to classic theater, whether American or English, modern or historic. It always hews faithfully to the author’s texts and intentions. Kinda like a cover band that recreates your favorite songs faithfully, without trying to make it sound like jazz.
In this production, the one major variation is that the majority of the roles are played by African-American actors, who are again, each faithful to their roles. And though it is difficult to tell, the production is set in the late 19th century/early 20th Century New Orleans.
The production, as it stands, could have been anywhere.
Regardless, the cast is powerful and memorable, with Bolden sparkling as the intense would-be king, and Julanne Chidi Hill as Lady You-Know-Who. Bolden brings a fearful intensity to his role, and he seethes with a dagger in his hand or without.
Hill as Lady M, is equally captivating, as she is slowly driven mad by guilt over the evil she encourages. Ben Cain is just as convincing as the doomed Macduff.
Noting the ostensible New Orleans location, the production design by Stephanie Kerley Schwartz and lighting designer Andrew Schmedake is practical, simple and effective, but busy and noisy when it needs to be.
All of the ensemble members are pinpoint in their portrayals, although director Andi Chapman falls into the familiar A Noise Within habit of allowing actors to speak with their backs to the audience, lessening a scene’s impact. (I’ve seen this in numerous productions here.)
Despite that, this is an admirable effort by an always impressive theater company. It’s three hours of pretty intense and moving drama, with dozens of riveting and memorable moments.
In the meantime, ssshh.
Performances of Macbeth take place through March 9 on Thursdays, Fridays and Saturdays at 7:30 p.m., with matinees on Saturdays and Sundays at 2 p.m. (dark Thursday, March 6). A Noise Within, 3352 E Foothill Blvd. Pasadena, CA. www.anoisewithin.org.
