A tale of malice, matrimony and murder, MACBETH tells the story of one couple’s obsession with power—and their guilt after doing the unthinkable. For 15 weeks only, this thrilling new production will capture the passion and ferocity of Shakespeare’s most haunting text like never before.
Craig, a fine actor in the past, is a victim of all the directing detritus. Gold seems to have told 007 and company to act detached and indifferent in this oh-so-violent and propulsive of works. Kings and murderers sound like Iowans discussing soybeans. When the witches tell Mackers that he'll be promoted to Thane of Cawdor and then King of Scotland? Meh. 'Is this a dagger which I see before me?' Yawn. During 'Tomorrow and tomorrow and tomorrow,' Craig channels Hank Hill and cracks open a Bud Lite.
Not only does this street-clothes production do away with any sense of regality, save for a luxurious robe Craig wears in the second act (costumes by Suttirat Larlarb), but Gold's vision is to make Macbeth as 'approachable' as possible. A pre-show speech by the hilarious Michael Patrick Thornton informs us of Shakespeare's time writing this as a plague raged through England and people turned toward the supernatural. It's close to the audience interactions famously espoused by traditional Globe productions - which a note in the Playbill unwisely evokes - but this attempt to appeal to the everyman becomes tiresome.
1870 | Broadway |
Original Broadway Production Broadway |
2018 | West End |
Royal Shakespeare Company London Production West End |
2022 | Broadway |
Limited Engagement Broadway |
West End |
West End |
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West End |
West End |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2022 | Drama Desk Awards | Outstanding Actress in a Play | Ruth Negga |
2022 | Tony Awards | Best Lighting Design of a Play | Jane Cox |
2022 | Tony Awards | Best Performance by an Actress in a Leading Role in a Play | Ruth Negga |
2022 | Tony Awards | Best Sound Design of a Play | Mikaal Sulaiman |
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