The Weird Sisters: Cornelius Franklin, Lee Thomas Cortopassi and Jamison Foreman. Quintessence Theatre Group’s production of MACBETH– thought April 28th. Photo by Linda Johnson
By Ellen Wilson Dilks
Mt. Airy’s Quintessence Theatre Group continues their sixteenth season with a production of Shakespeare’s tragic story of power-grabbing and political corruption. (Gee, not timely at all…) Running through April 28th (just extended) in the historic Sedgwick Theatre, Alex Burns’ reimagining of “the Scottish Play” is traditional yet avant-garde.
“Or have we eaten on the insane root
That takes the reason prisoner?”
Shakespeare is believed to have written MACBETH sometime in 1606–07; a transcript of an early performance was published in the First Folio in 1623. Portions of the original text were corrupted or missing, so they did not appear in this first printed version. The shortest of the Bard’s tragedies, there are no subplots or diversions as the playwright tells the tale of Macbeth’s seizing of power and subsequent destruction, both his rise and his fall the result of blind ambition. Shakespeare constructed his story using Hollingshed’s Chronicles, published in 1587, detailing the history of England, Ireland and Scotland—including the stories of Macbeth, Macduff and Duncan. Hollingshed’s work was familiar to Shakespeare and his contemporaries, but the events in the play differ considerably from the actual history of the real Macbeth. Interestingly, much of the Bard’s version of Macbeth’s tragedy takes inspiration from the execution of Henry Garnet for complicity in the Gunpowder Plot of 1605—where rebels planned to destroy Parliament and usurp the newly crowned Scottish-born king, James I.
Director Alex Burns has also created the set and soundscape for the production. One enters the performance space and moves around the “backstage” area into the seating—which is on 3 sides. A bare stage raised about 5 feet or so from the floor greets you. It has a staircase across the entire front, and makes use of the Deco arches of the Sedgewick on the upstage wall. Set pieces are moved on and off as needed, and there are a few surprises in store as the action progresses. Kelly Myers costuming evokes many eras—a touch of Elizabethan her, a hint of Steampunk there… Yet it all works. The intense and moody lighting is the work of Anthony Forchielli, while the movement and choreography is the inventive creation of Jessie Jones—giving the Weird Sisters some club-based numbers. Shannon Kearns has nicely created the props for the production, and Sean Bradley deftly handled the fight choreography. The eerie masks worn by the Weird Sisters are the work of Barbaric Yawp Workshop. These elements all combine quite well to heighten each moment of this tragic story.
“Present fears
Are less than horrible imaginings.”
The cast of MACBETH at Quintessence Theatre Group through April 28th. Photo by Linda Johnson.
The cast is an ensemble of twelve actors who create very 3-dimensional characters. There is nobility in some, and evil in others—while all are flawed in their own way. The program does not list pronouns preferred by each performer, so I apologize if I err in identifying anyone. Lee Thomas Cortopassi is a great blend of macho and sensitive as Macduff, while also creeping us out as the 3rd Witch. Owen Corey plays Duncan’s son, Malcolm. While there is much to enjoy in his work, I found his scene wherein he expresses the character’s anguish with events in Scotland landing all on one note. Jamison Foreman plays both Donalbain (Duncan’s younger son) and the 2nd Witch with great believability. Cornelius Franklin handles the role of the 1st Witch, and then surprises as a most engaging Lady Macduff. Joshua Kachnycz nicely serves as both Lenox and Ross—two Scottish “Thanes,” while Vaughn Meccod is equally adept as Banquo and Lady Macbeth’s physician. Young River Moore holds his own with the adults as Banquo’s son, as well as MacDuff’s murdered son. The role of Ross, another Thane, is well essayed by Ken Sandberg, with Zachary Valdez doing a solid job as the final Thane, Angus. The true “utility infielder” of the company is the always excellent Christopher Patrick Mullen. He plays Duncan, the immediately does a hilarious turn as the drunken Porter at Macbeth’s castle. Then reappears as Siward, the British general who joins Malcolm’s forces to overthrow Macbeth. I’m pretty sure he plays Hecate as well—though it’s uncredited in the program.
This brings me to the Macbeth’s….
Daniel Miller does a wonderful job of showing a man wrestling with what path to take—and finally influenced by his overly ambitious wife to commit regicide. Miller is interesting to watch as Macbeth slowly succumbs to his guilt. As Lady Macbeth, Scott Parkinson intrigues. Parkinson gives a nuanced performance of this woman who one wonders if she was always so ruthlessly ambitious or if she gets sucked in by the Witches prophecies. Macbeth initially dismisses them; it is his wife who brings the plan to fruition.
I have to admit that when I first heard that one of the great female roles was to played by a man, I was frustrated. Actresses have so few opportunities in classic drama that to have one taken away felt unfair. Parkinson won me over. And, as I overheard a female audience member point out, Quintessence was staying true to the theatrical norms of Shakespeare’s time. As I viewed the performance, I got more caught up in the politics of the play—and how frighteningly relatable it is to today. Not to mention the fact the production is visually and aurally exceedingly compelling.
WHEN YOU GO: MACBETH runs now through April 28th at varying times—check the company’s website. The running time is 2 hours & 45 minutes, including a 15-minute intermission. Quintessence Theatre Group is located at 7137 Germantown Ave., (Mt. Airy) Philadelphia, PA 19119. The venue is wheelchair accessible; patrons should contact the box office to reserve special needs seating. There are parking lots across Germantown Avenue, as well as around the corner from the theatre off of E. Mt. Airy Avenue and Chew Avenue. SEPTA Bus 23 and the Regional Rail are nearby as well. The Sedgwick Theater is conveniently located by both the Chestnut Hill West Line ALLEN LANE STATION and the Chestnut Hill East Line SEDGWICK STATION. For scheduling information visit septa.org. There is a variety of dining spots on the Avenue for pre- or post-show knoshes, these include Earth & Bread Brewery, Trattoria Moma and McMenamin’s Tavern. Quintessence can be reached at either 215-987-4450 or via email: boxoffice@quintessencetheatre.org Visit the company’s website (www.quintessencetheatre.org) for directions and other information.
COVID protocols: At this time, Quintessence is not requiring masks, but they are strongly recommended. Quintessence is a fully vaccinated workplace.