Long Beach Shakespeare Company’s (LBSC) “Macbeth” effectively portrays the heavy psychological toll of murder stemming from the play’s grisly deaths.
As we know from current events in Ukraine, one way to achieve power is simply taking it, even killing whoever’s in the way. That’s the perverted path Macbeth and Lady Macbeth find themselves walking—at first by choice and then by compulsion.
Especially owing to nuanced performances by Walter Gray IV as Macbeth and Libby Letlow as Lady Macbeth—under the direction of Theresa Hill—we feel what it might be like to have blood on our hands and desperation in our hearts. Murdering King Duncan (Bill Walthall) while he is a guest in their home through Lady Macbeth’s clever plan allows General Macbeth to become ruler of Scotland.
Prompting Macbeth’s boldness is a prophecy by three cackling, chanting witches—played with relish by Letlow, Sara Neal and Yvonne Robertson—who make a gross cauldron concoction of frog and baby parts but seem to know what they’re talking about. Though they foretell that Macbeth will be king, they also foresee that the sons of fellow general Banquo (Mikael Mattsson) will eventually reign. Guess who Macbeth murders next.
As his list of victims grows, we see Macbeth haunted by Banquo’s ghost and tortured by his fear of being usurped, his reasoning increasingly distorted. Meanwhile, Lady Macbeth walks and talks in her sleep, tormented by guilt as she tries to wash her hands of bloodshed. Gray and Letlow shine in these scenes, immersing themselves in their character’s emotions thereby allowing us to feel them, too. (Fun fact: Gray and Letlow are engaged in real life so their kisses are persuasive.)
The remaining 10 cast members also play their parts well—many with multiple roles—and director Hill orchestrates their comings and goings on the intimate LBSC stage with precision. Within the strong supporting cast, Noel Vasquez stands out for the gravitas he brings to his character Malcolm, slain king Duncan’s son who flees to England and raises an army.
The ensuing sword-fighting is compelling (choreographed by Mattsson) and bloody props—including a severed head—convey the carnage well. Nicole Braucher gives the set a somber look fitting the play’s tragic theme while costumes by Cathy Crane are also subdued but richly patterned. Lighting (Scott Kanzelmeyer) is used effectively to isolate Macbeth’s and Lady Macbeth’s soliloquies as they each grapple with their consciences.
The cast and crew thus make LBSC’s “Macbeth” a darkly entertaining production, including moments of humor that relieve the tension—especially when certain lines ring true to our modern ears. And through the two leads’ cathartic performances, we get a taste of the true price of power, as cautionary a tale now as ever.
Long Beach Shakespeare Company’s “Macbeth” continues through March 19 at the Helen Borgers Theatre, 4250 Atlantic Ave. Tickets are $23 general admission and $13 for students, with performances Fridays (except March 4) and Saturdays at 8 p.m., Sundays at 2 p.m. For tickets and information, call 1-562-997-1494 or visit LBShakespeare.org. Masks are required during the performance.
