By the Pricking of My Thumbs

What the Weird Sisters Saw

Dramatizing the damaging psychological effects that political ambition has on those who seek power, William Shakespeare’s shortest drama, THE TRAGEDY OF MACBETH, begins with a supernatural encounter. Amidst lightning and thunder, the Scottish general and his friend Banquo are returning victorious from defeating the allied forces of Norway and Ireland. There upon a heath, by the pricking of my thumbs, Macbeth meets Three Witches, who are also called the Weird Sisters. After praising his valor in battle, they portend that Macbeth will “be king hereafter.” Thus begins a sordid tale of evil, corruption, murder and revenge.

Just perfect for Women’s History Month, Idle Muse has revived its unique adaptation of Shakespeare’s Scottish play, told from the Three Witches’ point of view. Artistic Director Evan Jackson’s version, co-written with Tristan Brandon, was first presented 15 years ago by this company. Jackson directs this new rewrite of his original play. It’s a two-act drama filled with magic, mystery and mist that will intrigue and delight fans of Shakespeare’s 1606 tragedy, especially its female audiences.

In this adaptation, the Weird Sisters aren’t ugly, deformed “bearded” witches. They’re lovely, young druid priestesses whose visions and pronouncements not only surprise and confound Macbeth but also mystify themselves. Sometimes the other characters can see and hear the Weird Sisters; then, at other times, they remain invisible to the human beings simply moving around them and commenting on what they know is about to happen. 

There are a couple of problems with the script. Theatergoers probably need to be familiar with the original Shakespearean tragedy beforehand. Otherwise, as the events of the drama progress, audiences will be scratching their heads wondering what exactly is going on. Of course, the mysterious mood and magical atmosphere is always present, thanks to the technical artistry behind this production. But unless audiences know the story MACBETH ahead of time they’ll be confused by the events of this play. Also, Mr. Jackson has peppered his play with familiar quotations and dialogue from the original play while also adding his own pseudo-Elizabethan dialogue. It takes a while for the ear to become accustomed to the unusual words and phrasing. Unless these poetic lines are delivered by actors who understand how to speak it with meaning, the average theatergoer won’t know what the characters are saying.

Fortunately there are several topnotch actors in this cast who are both great at creating powerful characters, while being adept with handling the heightened language. Caty Gordon, so excellent as Guinevere in Idle Muse’s THE LAST QUEEN OF CAMELOT, is absolutely commanding, dramatically superb and completely understandable in her role as Murron, the leader of the three Weird Sisters. Both Jamie Redwood and Jennifer Mohr, as the other two Druids, have good moments, but they tend to fluctuate in their ability to communicate the intent behind the poetic dialogue. Mara Kovacevic is also lovely and haunting as Lady Macbeth and equally skillful with the language. 

Several of the male actors know what they’re doing and strive to make their roles comprehensible. Like a breath of fresh air, the Porter, played by talented Brendan Hutt, laces this production with some much-appreciated comedy. His accomplished Scottish burr is spot-on and every word he utters is completely understandable. As Banquo, Troy Schaeflein is another actor who not only comprehends the poetic phraseology, but is able to convey meaning to the audience. Joel Thompson does a fine job of portraying the ambitious, but weak-willed Macbeth; and Erik Schnitger, is particularly strong as Duncan.

The magical environment for the play comes from the talent of Stina Taylor, whose minimal scenic design is fluid enough to create the woods, the castle and the heath. Her work is aided by Laura J. Wiley’s moody lighting design and L.J. Luthringer’s crackling sound and atmospheric musical composition. Jennifer Mohr’s costumes are properly Medieval, well-tailored and filled with interesting texture and detail.

Told from the point of view of the Three Witches, audiences will experience a brand new perspective of MACBETH. In Evan Jackson’s rewrite of Shakespeare’s supernatural tragedy, we meet the three Weird Sisters who live both in the magical realm and in the real world. They travel back and forth with ease, viewing events that are actually taking place, as well as occurrences that have yet to happen. This juxtaposition of the plot can be disconcerting and confusing but, by the pricking of my thumbs, this play, with all its shady characters, double-dealing conspiracy, bloody murders and violent swordplay is nothing, if not exciting.          

Recommended

Reviewed by Colin Douglas

Presented March 17-April 14 by Idle Muse Theatre Company at The Edge Off Broadway, 1133 W. Catalpa Ave., Chicago.

Tickets are available at the theater box office, by calling 773-340-9438 or by going to www.IdleMuse.org.

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