There was blood on someone’s hands when Shakespeare in the Dark’s “Macbeth” premiered Friday, Feb. 21 in Phi Beta Kappa Memorial Hall’s Studio Theatre. A classical theater organization founded in 1997, SitD takes a fresh approach to Shakespearean performances.
SitD’s performance of “Macbeth” was fresh and original in its interpretation of Shakespeare, but did not lose its meaning, interactive Old English or fabulous replica costumes of the Elizabethan era. The performance also faithfully stuck to the original script for the majority of the play. The play kept all of the engaging elements that brought 17th century viewers to the theater and now brings 21st century viewers to the theater.
SitD’s intentional casting of talented actors in roles of power, as well as elaboration on the beginnings of the love of Macbeth and Lady Macbeth in the scene of their miscarriage, creates more intention behind Macbeth’s motives, while also taking a more equitable view of women in power roles.
As a writer who has seen numerous plays on the West End and at The Globe, I was unsure what to expect going into SitD’s “Macbeth.” I am generally quite critical of plays, but I found this production phenomenal.
The motion and feeling Cate Oken ’27 exuded as Lady Macbeth was a crowning feature in the production. As a devoted Shakespeare enthusiast herself, Oken revealed that Lady Macbeth was her dream role. In the murder scene, Oken wrung her blood drenched hands, exuding tension and speaking in fearful whispers. She whispered softly to Macbeth, characterizing the love that goes into the senile act of convincing him to murder someone else to elevate the couple’s own power.
Finley Cochran ’26 also gave a standout performance as Macbeth. Cochran expertly showcased deference to the king and showed his guilt wholly, sharing his experience with the audience through his eyes. He expressed disillusionment and futility during the murder scene as he stared at his hands while Lady Macbeth took the dagger and told him to clean up. Cochran’s emotion onstage holistically portrayed Macbeth’s changing feelings: love for Lady Macbeth that factors into his decision to murder Duncan, his own lust for power, shock after killing Duncan, fear when he sees Banquo’s ghost and ultimately death. Cochran brought the serious tragedy required for the role of Macbeth. The theatrical connection onstage between all of the cast members, including Oken and Cochran, was also evident throughout all their lines and movement in the space.
Director Topher Zane ’24 directed the performance to capture the humanity and meaning in Shakespeare as much as possible. In “Macbeth” especially, he explained that capturing the relationship between power and gender was particularly crucial.
“Showing stories that are driven, in part, by struggles stemming from gender politics are really important,” Zane said.
The influence of gender roles on power was emphasized by altering the gender of several characters from the original text as well as additions to the plot. For instance, as King Duncan, Edie Obernberger ’26 personified royal power with her straight posture, strict pronunciation and proud bearing. In both her role as the king and as a murderer Macbeth hires, she assumed traditionally masculine roles of power. Obernberger exemplified strength, authority and execution of that authority, playing the role of a leader well.
Macbeth is a play that was originally somewhat misogynistic. Whenever I’ve heard a woman called the “Lady Macbeth” of something, it’s a way to express that they’re seeking power in an underhanded way driven by malevolent motives. To cast a female actress in the role of King Duncan provides a more complex narrative because there are both women in direct power and women striving for power indirectly through their love.
This feminist adaptation centering Lady Macbeth’s perspective made her motive of love for Macbeth — and with it, her love of power — more complex. Viewers were encouraged to ponder more about her very human motivations, instead of seeing her as a one-sided, evil, power-hungry woman who convinces her husband to do a treacherous deed. The struggle between the roles of Macbeth, Lady Macbeth and King Duncan brings an inquiry throughout the throes of the play: who rules, who loves and is it gender-based?
But fear not for your hopes! A Shakespearean play would be woefully empty without its comedic breaks. There was an especially comedic piece in “Macbeth” for all who appreciate watching your drunk friends do stupid stuff. Max Heltzer ’26 portrayed a drunken porter who conversed in a daze with the audience, his charisma and humor showing. In your laughter, you will always “remember the porter!”
Performed in the black box style Studio Theatre, “Macbeth” was staged in the round so that patrons were seated in an intimate circle that enhanced the interactive aspects of the performance. In their direct eye contact and queries for the front row, the performers connected with the audience in the sheer tension, fear and humor of the scenes, utilizing methods similar to that of Elizabethan-era actors.
For fans of costuming, the production did not disappoint. From the Weird Sisters’ billowing capes, makeup and ethereal hairdos to Lady Macbeth’s attention-grabbing flowing red sleeves, the costumes designed and altered by costume designer Emily Banner ’27 showed careful attention to detail.
SitD’s “Macbeth” captivated first-time attendees and returning attendees alike with sorrow and laughter as the play followed the path of murder, love and power. Second-time SitD attendee Jaclyn Russo ’27 remarked that she enjoyed “Macbeth” and other performances by SitD for their relevance, digestibility and incredible acting. After first going spontaneously with a friend to SitD’s performances, Russo said she was captivated.
“We’ve been going every semester since, and we’ll go until we graduate,” Russo said.
Like “Macbeth,” the College of William and Mary student body has been “crowned by the chance” to see such a production. With intentional directing, almost flawless acting and vibrant costuming, “Macbeth” captured love and gender’s influence on conceptions of power.
Put simply, SitD’s Macbeth was a well-rounded and authentic production. To paraphrase Hamlet, “Get thee to Shakespeare in the Dark!”
