Sound
design: It’s not often that it’s the make-or-break element in a
theatrical production. But New World Shakespeare Company’s production of
Macbeth feels like it’s being guided by someone who doesn’t realize
we’re primarily there to hear the Bard’s words.
The familiar bloody
story of the titular Scottish nobleman/war hero (Eric Leckman), his
ambitious wife (Catherine McMillen) and their treacherous efforts to
seize the throne gets a setting that’s not overtly modern, though
handguns are employed and the director’s note suggests a
post-apocalyptic milieu. The Leonardo’s theater space presents some
logistical challenges, but the production makes the most of the space
with some effective lighting and use of entrances and exits through the
aisles.
But director Dru becomes inordinately fond of loud, ominous music cues—crunching
metal guitar riffs, dissonant screeches—to underscore the play’s most
violent moments. While it’s frustrating enough that the music feels like
unnecessary underlining of moments that are inherently disturbing, at
times it even drowns out the dialogue. And that’s saying nothing of the
puzzling choice to set the ghostly Banquo-at-the-banquet scene to an
instrumental version of “Stairway to Heaven.”
A few standout
performances help elevate some unevenness within the massive cast;
Leticia Minharo’s Banquo is particularly impressive, with Jeff Stinson’s
fury-filled Macduff and Leckman’s increasingly power-mad Macbeth
providing some great moments. The grim consequences of treachery do come
through in this Macbeth—at least whenever you’re allowed to hear them.
MACBETH
New World Shakespeare Company
The Leonardo
209 E. 500 South
801-719-7998
Through Nov. 3, see website for times
$15
NewWorldShakespeareCompany.com
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