A “Macbeth” for our Times – and a Cautionary Tale About Relevance
By Emma Walker, World-Today-News.com
The American Shakespeare Project’s (ASP) new production of Macbeth arrives at a moment when anxieties about power, ambition, and the fragility of democracy feel especially acute. Director Christopher V. Edwards clearly intends to tap into this zeitgeist, but a misguided attempt at direct commentary ultimately undermines an or else compelling and insightful staging of shakespeare’s timeless tragedy.
The production’s most meaningful misstep is a newly-written monologue, penned by playwright Kirsten Greenidge, inserted into the play. While the intention – to reflect on the “Trumpy times” and the erosion of democratic norms – is understandable, the execution feels heavy-handed and ultimately detracts from the play’s inherent power. Macbeth is, at its core, a chilling exploration of how unchecked ambition corrupts and how tyranny takes root. It doesn’t need explicit contemporary parallels; its warnings resonate powerfully enough on their own.
This feels particularly jarring given the production’s otherwise thoughtful setting within the McCarthy era of the 1950s - a period already steeped in political paranoia and the abuse of power. The monologue’s blizzard of present-day references feels out of sync with this established ancient context.
However, Edwards’s Macbeth isn’t without its strengths. He bravely challenges conventional interpretations, most notably in his portrayal of Lady Macbeth (Brooke Hardman). The production wisely chooses to humanize her,presenting a glimpse of a happy family life before the play’s descent into darkness. A home video and a poignant scene featuring a tiny coffin, viewed through a translucent scrim, reveal a woman grappling with profound loss and a devastating grief that fuels her ruthless ambition. This nuanced portrayal is then brilliantly contrasted with her later, chilling willingness to commit unspeakable acts – even suggesting she would kill their own child – to ensure Macbeth’s success.
This complex characterization is further enhanced by the strong performances of both Hardman and Omar Robinson as Macbeth. Robinson embodies the warrior’s initial prowess and subsequent unraveling with a compelling military bearing,while Hardman’s Lady Macbeth burns with a fierce,internal fire. Their chemistry, honed from a previous collaboration in ASP’s 2018 production of Much Ado About Nothing, is palpable.
The staging itself is elegant and effective, utilizing Danielle ibrahim’s scenic design and Marissa Wolf’s stylish costumes to create a visually striking world. The use of the scrim allows for evocative transitions and layers of meaning, while the contemporary costuming keeps the production grounded and accessible.
Perhaps the most moving innovation is Edwards’s decision to have Macbeth deliver his famous ”Tomorrow, and tomorrow, and tomorrow” speech directly to his wife’s corpse. This reframes the solilo
