Shakespeare's famed Scottish play gets the Jeremy Hutton treatment at the University of Toronto's Hart House theatre.
Mr. Hutton has a sense for engaging visuals. Aided by a stunning set by Melanie McNeill, delicious lighting design by Simon Rossiter, and costumes by Ming Wong, the eyes are certainly satisfied. Mr. Hutton must also be praised for his sense of pace and engaging fight direction. As might well be expected when the director is a fight director, the battles are well composed, though some of the violence cross into unrequired gratuity.
Unfortunately, much as happened in last year's Richard III, Mr. Hutton seems to have become enamored of his clever stage tech to the point that it becomes detrimental to other parts of the production. Light changes were almost always accompanied by a whoosh, rattle, shriek or thump. A strobe light used with great effect during MacBeth's encounter with the Weird Sisters was less effective in setting up his coronation. And, while changes of location were well communicated, the natures of the locations were not. I wondered early on why the court of Scotland was meeting in the forest before, after a while, I realised they were supposed to be inside.
MacBeth is known for many things: for its famous curse, its witches, its battles and bloody murders. But at its heart, the tale of a Scottish Thane inspired by prophesy and spurred on by his wife to commit regicide is a character-driven piece. As his fear, unease, and ambition drive him to tyranny, it is the emotions of MacBeth and Lady MacBeth that drive the piece. It is the human depth, the exploration of darkness and nobility, that was missing.
Jackie Rowland as Lady MacBeth came across as far too worried and fragile for a woman who early in the play entreats the spirits that attend on mortal thoughts to unsex her. William Foley as MacBeth, gave satisfying performances in scenes of action and command (and is therefore particularly strong in the latter half of the play), but hit uneven notes in his other scenes.
To paint with a broad stroke, the cast seemed comfortable enough with what they were saying, but seemed not to have a grasp of why they were saying it.
A couple notable exceptions to this rule should be called out, however. John Fray as Banquo impressed me in a couple of his quieter scenes, and Mischa Aravena has some excellent moments as MacDuff. His reactions to the news of his family's death at the order of MacBeth stand out particularly. I have seen him in a few other productions recently, and I hope to see him in others soon.
I am probably coming down a little hard on this production. After all, both I and my guest for the evening felt that it was two and a half hours well-enough spent, and overall enjoyed the night. It is just that MacBeth is such a meaty play, and the characters have so much richness and depth in them, that it is disappointing when that depth is not plumbed.
Ultimately, I was engaged by the sound and fury, but found no significance.
MacBeth runs at Hart House until November 26th.
Tickets and information available at