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Mod ‘Macbeth” at PushPush
The Atlanta Journal-Constitution
THEATER REVIEW: “Macbeth� Through Oct. 9
Rarely has a Shakespeare classic emerged with more biting relevance than in PushPush Theater’s “Macbeth.� The company characterizes its production as “reimagined,� but in fact it remains mostly (“90 percent�) true to the original text. Be it 17th-century king or modern U.S. president, this “Macbeth� describes the story of one man’s rise to power and the bloody reign of terror that ensues.
When we first meet Macbeth, he is but a mere general, an empty suit in warrior’s clothing. Learning that he might one day assume the presidency, er, throne of Scotland, he is persuaded by others more powerful than him (Lady Macbeth) to go ahead and murder the current king (King Duncan) and take over.
With typical cowardice, he stabs the benevolent king in his sleep (a guest in Macbeth’s own castle, at that). His mission accomplished, Macbeth becomes heady with power, discovering a latent fondness for murder and bloodshed. He and his kin ultimately meet their just reward, but not without leaving a wretched path of destruction behind.
“Macbeth,� Shakespeare’s most violent work, describes the cataclysmic effect when power is placed in the wrong man’s hands.
PushPush pulls the play seamlessly into the 21st century using minimal trappings: a bare-boned stage, a video screen, a few spot-on props and costumes. Lady Macbeth first appears in contemporary garb, her plain black pants, top and heels the perfect complement to the huge cowboy hat that sits atop her ponytail. (After the murder, her husband wears it; of course, it’s way too big for him.) For most of the evening, she totes a bottle of vodka in one hand and a plastic martini glass in the other.
Shelby Hofer’s portrayal of the brains behind the throne is captivating and powerful, whether she’s ordering her husband around or delivering the famed “Out, out damned spotâ€? as a laundry commercial.
As the mighty Macbeth, Matt Stanton uses his thin frame to project a physically limp and spineless presence, nonetheless compelling as he rages about in guilt-induced, fear-driven angst. His and Hofer’s delivery of Shakespeare’s verse is consistently, cuttingly incisive.
Appropriately garbed in fatigues, goggles and aviator cap, with a huge machine gun resting on his shoulder, Wade Tilton creates Macbeth’s erstwhile friend Banquo — full of “hail fellow well met� good nature while alive, and menacing revenge as the dead man’s ghost. The chain-dragging in the latter guise is especially effective.
Brad Brooks is the benevolent King Duncan, aw-shucks Texas drawl and all, as well as the vengeful McDuff. Smaller roles are played by Zoë Cooper, Rachel Isley and Daniel Hollingsworth, whose prowess on skateboard is put to effective use. Dave Bruckner’s videography further blurs the line between Shakespeare’s original plot line and its 21st-century implications, creating a not-so-subtle commentary on the bloody proceedings.
THE VERDICT:: Shakespeare as contemporary political satire. 8 p.m. Thursdays-Saturdays. 7 p.m. Sundays. Through Oct. 9. $10-$16. PushPush Theater, 121 New St., Decatur. 404-377-6332; www.pushpushtheater.com
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