In a convention-defying, sometimes puzzling “Macbeth” on Broadway starring Daniel Craig and an excellent Ruth Negga, the most powerful moments remain rooted in Shakespeare’s text. Read TimTeeman's review:
Here, hand-held smoke machines are wielded by actors to provide as much Scottish mist as possible, as the witches predict Macbeth’s ascent from Thane of Cawdor to king. Macbeth and his wife plot their killing spree, bejeweled crowns firmly in sight, lounging on modish sofas. Lighting is either full blast, or filtered moodily through all that mist.
The problem is not that it feels stylized—Gold is a master of theatrical styling—but that certain emotional peaks or key moments feel deflated as soon as they happen, and can lose their import. It isn’t quite a meta-that wants us to show us its own construction and creation. Like its subject it has its own ruthless sense of what is important.
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