Scott Bellis and Craig Erickson in Bard on the Beach’s production of Macbeth. Audiences who have only studied the play in high school may be surprised how enthralling it is, writes Alan Charlton. (Tim Matheson, Bard on the Beach photo)
It is altogether appropriate that the first opening night at Bard on the Beach this season took place at the beginning of the first hot spell of the time. After all, the productions under the tents at Vanier Park have become one of the city’s biggest summer draws for both tourists and citizens alike. Rather strangely, though many have expressed an interest in so doing, a number of locals have never attended the festival, which is rather sad, even though some may find Shakespeare rather daunting. Fortunately, the opening production is Macbeth. For many who have not been part of the audience for Bard on the Beach in the past, and, of course, for all those many who have, there is perhaps no more accessible part of the canon than the Scottish play.
Of course, many will have studied the play in high school where it has been a staple part of the curriculum for years. Though they may not have been entirely won over by the play, they may well be surprised at how enthralling it can be – especially in the fine production now on show at Bard on the Beach. The story of a man who sacrifices the high regard in which he is held, whose guilty conscience destroys his peace of mind, and whose entire life becomes meaningless is a powerful statement of what happens as a result of those who are too ambitious – and is well conveyed by the company.
This is not to say that the production is flawless, though perhaps its biggest weakness is somewhat of an advantage. For some reason, director Chris Abraham has decided to have the cast yell their lines for a huge part of the production. While this may be appropriate for the battle scenes and some in which the characters confront each other in anger or frustration, it does become rather irksome. The witches, for example, are so loud that they are less frightening than tiresome. When Lady Macbeth and her husband are involved in the scene in which they murder their King, they argue as if they wish not only to raise Duncan from the dead, but also wake up all those sleeping in the castle as if to advertise their crime. However, though it means that some of the nuances of emotion are lost, this flaw does have the advantage that it certainly helps the audience to follow the action easily.
In other respects, the production is excellent. The cast as a whole play their parts in such a way as to make them seem natural, even though they are speaking in Elizabethan verse. The director has ensured that the play unfolds with unflagging energy. Ben Carlson as Macbeth is commanding when he needs to be and pitiful in the self-awareness he experiences when he is finally aware of the destruction of self in which he has engaged. However, Moya O’Connell as Lady Macbeth is the standout of the production. From the moment she realizes that she needs to sacrifice her femininity in order to strengthen Macbeth for his bloody journey to the throne to the time when, sickened by her own guilt in the enterprise, she ultimately is destroyed, O’Connell commands one’s attention.
At the same time, Pam Johnson’s set design and Christine Reiner’s costume design superbly convey the context and the period. The result is a visually compelling piece of theatre.
This is indeed a worthy production for Bard on the Beach. Regular patrons will be pleased to see that the high quality of its work continues. Those who have never attended will be impressed – though they should be aware of the fact that the company plays to almost 100 per cent capacity, so it is advisable to book ahead. And since the season lasts until well into September, there is no excuse for not making it. Macbeth is ample proof that Bard on the Beach is indeed a company of which Vancouver can be proud.