Sleep No More

Macbeth

Sleep No More

In this highly anticipated followup to their recent production of “The Tempest,” Teller (the quiet partner of the famous magic team of Penn & Teller) and Aaron Posner (the talented playwright who gave us, among many others, “Stupid Fucking Bird” and “Life Sucks”) have thankfully reunited at Navy Pier’s Tony Award-winning regional theatre. Originally presented at Washington D.C.’s Folger Theatre, their creative partnership for this play, both as co-adapters and directors, once again rewards Chicago audiences. This is a gritty, sensory-exploding production of Shakespeare’s bloody classic that gurgles and gushes with tension, drama and eye-popping magic.

The first thought that comes to mind is how exciting this tragic drama is, first performed around 1606, and every bit as powerful and captivating as when it was first presented. Given the unbelievable technical support and magical illusionary effects that enhance this particular incarnation, Posner and Teller’s production is positively riveting. This is a powerful story of a man who’s political ambition psychologically destroys him. Macbeth, a courageous Scottish warrior, is delivered a revelation by three witches that he will soon become King of the realm. Overwhelmed by his own greed and lust for power, he shares this prophecy with his wife, Lady Macbeth, who goads her husband into a series of brutal murders to accomplish his rise to power. Haunted by guilt and the fear of being discovered, Macbeth continues killing mercilessly until his bloodbath drives them both to madness and their own deaths.

This production is, as anticipated, an impressive spectacle of mayhem and magic. Aaron Posner and Teller are ably assisted by an army of unseen theatrical magicians and artists, all working together to create this impressive production. Daniel Conway’s multilevel setting is dominated by three, blood red doors, through which much of the drama seems to advance. There’s a spiral staircase that leads to a balcony festooned with assorted set dressing, that is the primary domain of the three witches. A giant mirror sometimes hangs centerstage reflecting a multitude of images, in particular the “dagger I see before me.” 

Working in tandem with Mr. Conway, Thom Weaver’s electrifying and often shadowy lighting plot and Andre Pluess’ startling and frightening sound design and composition, played by Kenny Wollesen’s musical instruments of darkness, all effectively meld together. Their creativity works together to create an eerie, mystical foggy environment that’s ever magical. Add to these artisans Johnny Thompson’s stirring magic design, Matt Hawkins’ savage fight choreography and the expert verse coaching provided by Susan Felder, and you have a feast for the eye and ear. 

Costumer Mara Blumenfeld meets the challenge of “The Scottish Play” by dressing her army of men in a score of earth-toned utility kilts, leather jackets and work boots. She saves most of the color for Lady Macbeth in her gorgeously rendered crimson gowns. When, finally, guilt has driven her mad, during the famous sleepwalking scene Lady M dons a white nightgown that magically turns blood red by the end of the soliloquy. Combined with the jaw-dropping hair, wigs and makeup designs created by Richard Jarvie, the actors, particularly the witches and ghosts, are horrifying to behold.

Ian Merrill Peakes leads this star-studded cast of gifted Thespians. His power and stature, along with a wonderful eloquence with both word and sword, make Mr. Peakes a Macbeth that’ll be difficult to forget. The directors have guided this actor to deliver much more humor in his speeches than one would expect from this character, and that’s an added bonus. In this way, Mr. Peakes keeps this production from becoming laden with too much drama and the comic moments offer a fine contrast that points up the more uncivilized moments.

As Lady Macbeth, Chicago actress Chaon Cross is beautiful, sexy and Peakes’ equal in her quest for power. She’s insidiously menacing, provoking and prodding her husband to do things he might not have ordinarily done. Ms. Cross’ Lady is an amoral consort, a woman who’s even more bent on achieving her own bloody agenda than that of her husband’s, a journey for which she’ll eventually pay with her life.

The Weird Sisters, the three witches, are played to perfection by McKinley Carter, Theo Germaine and Emily Ann Nichelson. They are omnipresent specters, lurking everywhere and silently making their presence seen and felt in every scene. This trio become the stars of this production, played with slithering, frightening supernatural exuberance. They appear out of the mist offering their incessant vocal soundtrack for this horror story. With their hairless heads, deep-sunken eyes and voluminous capes, they look more like the undead from “Nosferatu.” 

Versatile actor Christopher Donahue is properly paternal and regal as King Duncan, making his CST debut as Macbeth’s first victim. He also adds a bit of befuddled humor, later playing Lady Macbeth’s doctor, who wants no part in trying to cure what ails her. Handsome, macho Adam Wesley Brown returns to the Navy Pier stage as Malcolm, Duncan’s eldest son, who’ll stop at nothing to revenge his father’s death. Andrew White is terrific as Banquo, Macbeth’s friend and comrade, and another general in Duncan’s army, who becomes caught up in the slaughter and returns to haunt his murderer. Timothy D. Stickney also returns to CST to play an impressively commanding Macduff. Stickney’s scene following the slaughter of his wife and children is honest and incredibly moving, as is his revenge against his former friend, Macbeth.

Teller and Aaron Posner have done it again. They’ve returned to Chicago Shakespeare to direct in the Theatre’s new, adaptable Yard venue, perfectly staging their reimagined version of the Bard’s tragic tale of unbridled ambition and greed. This production certainly ranks among this company’s finest. An impressively talented cast of 22 actors, along with countless gifted behind-the-scenes artists, join forces to bring this classic, a must-see production, to Chicago audiences. Audiences will be enthralled by this stellar version, cloaked in lightning, thunder and roiling fog, of one of Shakespeare’s scariest and bloodiest plays. As the Weird Sisters warn, upon experiencing this production, theatergoers will Sleep No More.

Highly Recommended

Reviewed by Colin Douglas  

Presented April 25-June 24 by Chicago Shakespeare Theatre in the new Yard Theatre on Navy Pier, Chicago.

Tickets are available in person at the CST box office, by calling 312-595-5600 or by going to www.chicagoshakes.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.