Voodoo MacBeth: Orson Welles’ First Big Hit

Today, nontraditional productions of Shakespeare are more traditional than stagings that maintain the original eras and settings of his plays. That was not true in 1936, when Orson Welles directed a Federal Theatre production of the “Scottish Play” in Harlem. Instead of Scotland, it shifted the action to Haiti, where voodoo substituted for Celtic witchery. A platoon of ten directors and eight screenwriters recreate the behind-the-scenes drama in Voodoo MacBeth, which opens today in New York.

The public did not recognize Welles as a golden boy yet, but producer John Houseman had an inkling of his talents. However, Welles was first somewhat reluctant to tackle MacBeth with an all-black cast, but his first wife Virginia convinced him of its potential. Of course, he was already Orson Welles, by temperament, so he frequently clashed with Rose McClendon, the founder of the Federal Theatre’s Harlem division, who had originally cast herself as Lady MacBeth.

Casting the rest of the roles was tricky, but Welles saw a spark in former boxing champ Cuba Johnson, who is transparently based on the production’s real-life Banquo, Canada Lee—but the twice-married welterweight might well be surprised by Johnson’s cautious coming-out and tentative gay relationship with another cast-member. Meanwhile, Houseman must battle Rep. Martin Dies, the first chair of the House Un-American Affairs Committee for founding of their radical production.

The caucus of directors and screenwriters eagerly positions Dies as the film’s villain, but it conveniently forgets the local Communist Party violently picketed the production. Welles would have sliced and diced by an attacker, were it not for Lee’s timely intercession. Nevertheless, their Voodoo MacBeth film will inevitably be panned for giving Welles and Houseman prominent “white savior” roles, because cultural criticism has collectively lost its mind. Seriously, this would never have been picked up for distribution without Welles’ central role—and I probably wouldn’t be reviewing it.

Jewell Wilson Bridges and Daniel Kuhlman are both reasonably solid as Welles and Houseman, but they lack the flair and physical resemblances Christian McKay and Eddie Marsan brought to the famous collaborators in Richard Linklater’s unfairly overlooked Me and Orson Welles. Frankly, Bridges just lacks that Wellesian charm.

Ghost Light: Good Luck Staging Macbeth

Shakespeare never gets the credit he deserves for being a writer of the macabre. Hamlet has ghosts and graveyards, while Richard III is all about a psychotic hunchback. The best example is probably Macbeth, with its witches and curses. Of course, we are supposed to call it “The Scottish Play” because of actors’ superstitions. Remember how they refuse to say the “M word” the next time an actor lectures you on “science.” Nevertheless, when somebody tempts fate by uttering the unutterable, it leads to a lot of supernatural trouble. On the plus side, the amateurish summer stock troupe’s performances improve tremendously in John Stimpson’s Ghost Light, which releases today on DVD.

Henry Asquith’s company has come to mount the Big Mac play in a picturesque country playhouse. During the intense week of rehearsals, they will stay in the comfy farm house adjoining the converted-barn theater. Hammy Alex Pankhurst will be playing Macbeth thanks to his deep pockets. Brooding Thomas Ingram will be playing Banquo, even though he believes he should have the title role, by virtue of his superior talent. Liz Beth Stevens does not disagree with Ingram, whom she is seeing on the sly, behind the pompous Pankhurst’s oblivious back.

Disgusted by it all, Ingram and Stevens invoke the dreaded name and the cursed play responds. Soon, they find themselves in positions very much like those in the play. However, their rapport is threatened by the arrival of a mysterious backpacking yoga tourist, who agrees to take on the part of “Second Witch.” Then accidents start happening.

Ghost Light is a low-key supernatural comedy that is small in scope, but still rather pleasant to watch. It features a game cast, all of whom seem to enjoy the larkiness of it all, especially Cary Elwes, who absolutely gorges on the scenery as Pankhurst. Arguably, Elwes doesn’t get the horror cred he deserves either, even though he was in several dozen Saw movies and had recurring roles on Stranger Things and The X-Files.

Be that as it may, Roger Bart scores most of the film’s laughs as Asquith, who manages to be both indulgent of his actors, but still bitingly sarcastic. Tom Riley (Leonardo in Da Vinci’s Demons) and Shannyn Sossamon go all in as the Macbeth-tormented lover-thesps, while Carol Kane acts like Carol Kane, as Madeline Styne, as “The First Witch.”

There are some clever bits in Ghost Light, but Stimpson and co-screenwriter Geoffrey Taylor are more interested in Noises Off-style back-stage gags than really delving into the Bard’s creepy side. One wonders what Liam Gavin and the team behind A Dark Song might have done with this premise. Still, Stimpson & Taylor deserve credit for originality. Recommended as an appealing palate-cleanser for horror fans, Ghost Light releases today on DVD and VOD.

Macbeth: Fassbender Takes on the Sound and Fury

Academics have long debated just how many children Lady Macbeth had and lost, because they don’t hand out tenure for nothing. Justin Kurzel’s new cinematic take on the Scottish Play is willing to go on record positing one child, whose tragic death will psychologically torment her and her noble husband unremittingly. Kurzel also more fully embraces the blood and carnage of battle than politely prestigious productions past in his vivid adaptation of Macbeth (trailer here), which opens this Friday in New York.

You might not recognize the scene of Macbeth, Thane of Glamis and Lady Macbeth burning their young child on a funeral pyre, but from there on, it is business as usual. However, Kurzel does not skimp on hack-and-slash action when Macbeth and his faithful comrade Banquo vanquish the forces of the treasonous Macdonwald. Just as the three witches promise, Macbeth is promoted to Thane Cawdor following the traitor’s execution. That gives Lady Macbeth ideas about the rest of the witches’ prophesy, particularly the part about Macbeth becoming King of Scotland. However, they had an addendum hailing Banquo as the forefather of future kings that somewhat vexes the childless Macbeth.

Although Lady Macbeth does indeed prompt her husband to commit murder, Kurzel’s conception of the Scottish Play is remarkably forgiving of this often vilified noble woman. Again, the explicit grief for her child humanizes her subsequent sins to a considerable extent. On the other hand, Malcolm the heir apparent is portrayed in unusually shallow and cowardly terms.

Casting Michael Fassbender as Macbeth is so logically self-evident, it seems strange nobody tried to do it sooner. He does not disappoint, completely committing to Kurzel highly physical conception of the Thane. One look from him can make the heather on the hills wilt. In contrast, Marion Cotillard’s Lady Macbeth is unusually sensitive and guilt-ridden. Unlike memorably ferocious Lady Macbeths (Rosanne Ma in the Pan Asian Rep’s Shogun Macbeth is still a favorite), she is almost delicate, which makes the contrast between her and Macbeth all the more dramatic. Paddy Considine and Sean Harris also add considerable grit and heft as Banquo and Macduff, respectively.

Visually, cinematographer Adam Arkapaw work is just as bold, deliberately evoking blood and fire with his vivid color palette, while (brother) Jed Kurzel’s minimalist score gives the film a contemporary vibe. Kurzel somewhat overindulges in symbolic imagery with his over the top closing sequence, but that is a minor misstep. In general, his fearlessness pays dividends.

Frankly, the all the best Shakespearean films take some liberties with their source material. Arguably, Kurosawa’s Throne of Blood remains the greatest cinematic Macbeth, with its completely original but utterly iconic death scene. Kurzel’s Macbeth is a worthy follower in its tradition. Like Ralph Fiennes’ Coriolanus, Kurzel is very much in touch with the manly, action-driven side of Shakespeare, while also ruthlessly plumbing the dark psychological depths of his flawed characters. Highly recommended, Macbeth opens this Friday (12/4) in New York, at the Landmark Sunshine.

Macbeth: Branagh Storms the Armory

Much to the regret of cineastes and Shakespeare connoisseurs, we can only speculate about what Olivier’s aborted Macbeth film could have been. At least we have auteurist adaptations from Orson Welles, Roman Polankski, and (sort of) Akira Kurosawa. Sir Kenneth Branagh (who picked up his fifth Oscar nod playing Olivier in My Week with Marilyn) has not yet helmed a big screen version of the Scottish Play, but patrons attending his new staging at the Park Avenue Armory will feel like they have seen it anyway, in widescreen 3D. An extremely cinematic Macbeth directed by Rob Ashford & Branagh officially opened last night, thoroughly dominating the cavernous Wade Thompson Drill Hall (promo here).

When transplanting their critically acclaimed Manchester International Festival production to the Armory, Ashford and Branagh decided to go large—really, really large. Seriously, we are talking big here. It is hard to describe the initial awe experienced walking to one’s seat through a recreation of Scotland’s moors, illuminated by hooded torchbearers, under the shadow of an enormous druid stone circle. That essentially covers the price of your ticket right there.

The druid stones are at one end of the stage and a massive candle-lit altar stands at the other. In between is a dirt battlefield, where Scotland’s thanes will get muddy, bloody, and dead. Two tiers of risers define the sides of the performance space, but despite their imposing size, it still feels like a surprisingly intimate viewing experience.

It is difficult to overstate the importance of set and costume designer Christopher Oram’s work. Yet, the show starts even before patrons enter, when they are assigned a clan and assemble with their kinsmen in one of the Armory’s historic chambers. (This might be a good place to send out a war yalp to Steve at Unseen Films, who made our group of cult film reviewers’ night of culture possible. Ross Clan Rules!) There is no audience participation, per se, but it puts you on notice—this will not be a typical night at the theater.

Branagh brings it right from the start, with a full-scale battle sequence that brings to mind the melee of his classic Henry V. As you really ought to know, Macbeth is initially a heroic supporter of the king. Then three witches enter. They offer up a series of cryptic prophecies and soon Macbeth is up to his neck in murder most foul. Even with all the jaw-dropping spectacle on display, Branagh and company have to get down to business at some point, but fortunately he comes to make a statement.

As an old theater pro, Branagh could project to the back row with his head wrapped in gauze. While not a huge man, his Macbeth bristles with power, suggesting a sociopathic Medieval Napoleon. Frankly, most audience members are coming to give him a standing ovation, but he truly earns it. At times, Alex Kingston’s Lady Macbeth might be a bit too quiet for the staging, but her one-on-one scenes with Branagh have a raw physicality that is almost shocking. (Still, probably no one will ever match the sheer force of Roseanne Ma’s psychotic breakdown in the Pan Asian Rep’s Shogun Macbeth.)

Unfortunately, several of the major thanes are rather overwhelmed by the staging, but Richard Coyle is the standout exception as Macduff. He was quite winning in Grabbers and impressively intense in Pusher, but he takes it to another level here, holding his own with Branagh. Just so we do not forget this is a Branagh show, Jimmy Yuill once again rejoins his frequent comrade as an unusually crusty and battle-hardened Banquo.

You really have to see the Armory Macbeth to fully get its full scope and impact. Ashford & Branagh have mounted what might well be the most ambitious staging of Macbeth, perhaps ever. Yet, they do not neglect the dramatic essentials. There is no need to tip toe around, referring to it as the Scottish Play sotto voce. This is Macbeth and it means business. Highly recommended for anyone who can possibly get to the Upper Eastside, Ashford & Branagh’s Macbeth ends its limited engagement on June 22^nd at the Park Avenue Armory.

ADIFF ’12: Tango Macbeth

It is like the Bewitched version of the “Scottish Play.”  Two identifiably different actors will play the murderous general, due to complicated circumstances.  It is all part of the backstage drama brought to the fore in Nadine M. Patterson’s meta-postmodern-experimental-musical-docudrama Tango Macbeth (trailer here), which screens during the 2012 AfricanDiaspora International Film Festival in New York.

Unconventional in many ways, this Macbeth will be choreographed.  Yes, there will be tango, as well as some vaguely Fosse-esque steps, but that is the least of Patterson’s gamesmanship.  While the play itself is shot in stylized music video-style black-and-white, the ostensive behind-the-scenes rehearsal will be filmed in Wiseman-like color.  There will be nearly as much fireworks going on amidst the cast and crew as in the presumptive play within the film.

Hopefully, it is all a bit of meta-meta fun, or else Macbeth #1 will be in for some indigestion when he finally screens Tango.  Yet, the Shakespeare is still in there and the cast is often quite good bringing out the flavor and dynamics of Shakespeare’s most perilous tragedy.  In fact, Brian Anthony Wilson is absolutely fantastic as Macduff (and himself as Macduff), blowing the doors off the Thane of Fife’s big scenes.  Based on his work in Tango, most viewers will probably be up for watching him tackle the title role in a more traditional production.

Alexandra Bailey also has some powerful scenes as Lady Macbeth, apparently developing some nice chemistry with both Macbeths.  If Carlo Campbell, Macbeth #1, always appears in character[s], than it is a really fearless performance.  Ironically though, Eric Suter’s best scene comes not as Macbeth #2, but when he was still a swing player, appearing as Lady Macbeth’s assassin.

It might seem hypocritical to criticize Anna Karenina for Joe Wright’s stylistic excesses, but praise Patterson’s explicitly avant-garde approach.  Yet, they are coming from two very different places.  While Wright is just tossing in a distracting bit of hipster pretension, Patterson is fundamentally deconstructing both Shakespeare and traditional notions of stage drama.

The talented ensemble makes quite a mark in Tango, yet it is likely to disappoint anyone hoping to see actors in classical costume, dancing about with roses in their teeth (perhaps bitterly so).  However, for the aesthetically adventurous it is a fascinating production.  Recommended for frequent patrons of the Anthology Film Archives, it screens Saturday (11/24) and Sunday (11/25) as part of this year’s ADIFF.

Pan Asian Rep: Shogun Macbeth

Twelfth Century Japan and Eleventh Century Scotland were not totally dissimilar. Both were feudal societies with their own supernatural lore and the occasional outbreak of swordplay. Transferring Shakespeare’s Macbeth from the Medieval Highlands to Kamakura Era Japan actually makes far more sense than most radical setting changes for Shakespeare’s plays (particularly the seemingly compulsive need to place every tragedy in a thinly veiled Nazi Germany). In fact, Shogun Macbeth has already proved successful for the Pan Asian Repertory Theatre, so as part of their Masterpiece Cycle, they have revived their production for a limited run, which officially opened last night.

Shame on anyone who needs the plot of Macbeth explained to them. Happily, Pan Asian Rep follows the original Shakespeare fairly closely, making a few linguistic and stylistic changes here and there. Instead of a dagger before Macbeth, he sees a shoto. They have also incorporated some traditional Japanese motifs, like the Biwa Hoshi, or “lute priest,” who serves as Shakespeare’s narrator. However, Macbeth still opens with the three witches (here called Yojo) foretelling Macbeth’s ascension to the throne (Shogunate), stoking his ambition and thereby setting in motion a bloody chain of events.

As Lady/Fujin Macbeth, Rosanne Ma is fantastic, subtly hinting she might be a little off, well before her “out damned spot” mental breakdown. She is completely believable and frankly sometimes creepy as the manipulative wife, goading Macbeth into murder. Kaipo Schwab seems to play Macbeth as a brutish savage, but given the body count he racks up, it is totally credible interpretation, which he carries off well. The formerly Scottish Play has a reputation for humbling actors, but here the two primary leads consistently rise to the challenge of the play whose name they cannot speak.

Designed by Charlie Corcoran, the simple set and prominent Buddha backdrop are visually dramatic, equally compatible with the scenes of supernatural mystery and the Kurosawa-esque samurai clashes. The Yojo/witches effectively play on Japanese archetypes, specifically the supernatural woman with preternaturally long tresses, accentuating the play’s uncanny themes. While Michael G. Chin’s fight sequences and Yoko Hyun’ elegant tea services firmly root the production in its new setting.

Briskly directed by Ernest Abuba, Macbeth is just over two svelte hours, not including the intermission. It makes for a quite manageable dose of high culture wrapped in a very entertaining package, and featuring a particularly noteworthy performance by Ma. Pan Asian’s satisfying revival runs at the Julia Miles Theater through December 7th.