A futuristic ‘Macbeth’ at Vanguard

Tom Titus

Shakespeare’s plays have been transformed and relocated all over the

Old World and the New. A current example is Orange Coast College’s

production of “Twelfth Night,” set in 1939 Hollywood. A few blocks

away, Vanguard University has launched “Macbeth” into the future.

However, the future -- as director Susan Berkompas visualizes it

-- isn’t of the “Star Trek” variety. Her future, just 10 years down

the road, is a post-apocalyptic world populated by survivors of a

nuclear holocaust who scrape and claw for power much as they did in

Shakespeare’s time.

Otherwise, “Macbeth” is presented pretty much on a traditional

level in one of the more visceral interpretations of the tragedy

presented in local theater. Bloodletting abounds, particularly in the

second act, which is punctuated by a showdown between Macbeth and

Macduff that will draw gasps and winces from the audience.

The so-called “Scottish play” remains one of Shakespeare’s most

virulent and violent creations, and Berkompas doesn’t skimp on the

carnage, presenting some of the most bloodied and battered characters

yet seen on a local stage. She’s assisted mightily by fight

choreographer Christopher Villa, who has designed some particularly

realistic battle scenes.

Berkompas also has elicited some powerful performances out of her

sizable undergraduate and graduate student cast. Perhaps the most

dynamic individual accomplishment is Christopher Tillman’s

revenge-bent Macduff, seething over the murders of his wife and

children, and “laying on” with astonishing gusto. He’s also the

strongest speaker of the company, bringing a thundering oratory to

his mission.

Macbeth himself, veteran Vanguard actor Tim Larson, requires more

stage time to establish his true nature, but when sufficiently warmed

up, Larson is a powerhouse. Larson plays Macbeth as an asthmatic,

slightly overweight ruler, gasping and panting as his murderous toll

mounts and writhing in the thrall of the three “weird sisters” who

dictate his fate.

Kathryn Scott delivers a superb account of Lady Macbeth, the true

power behind the savagery. Scott beautifully coaxes her husband into

violent ambition, and her descent into madness via the famous

blood-stained sleepwalking scene is particularly well fashioned.

Fred Ingels impresses as the not-long-for-this-world King Duncan,

a jolly, hearty ruler who gives no motivation for his murder. Jack

Clark is a solid, sinewy Banquo whose post-mortem appearance at

Macbeth’s table (via a video screen, which only Macbeth can

visualize) launches the new king’s journey into mental purgatory.

Adding a high degree of spice to the production are the three

witches -- Amy Maier, Laura Manchester and Christi Brixey -- who are

hardly witches of the haggish variety. All are quite fetching, as is

their spiritual leader, Mary House, with whom they writhe about the

stage under Maier’s choreographic movements.

Jeff Fazakerley excels as the throne’s true heir, Fleance, in a

performance that seethes with vitality. Michael Milligan, Darren

Rouanzoin, Scott Faring, Mark Parker and A.J. Teaters also acquit

themselves well as military figures on both sides, while Ryan Stice

has a nice five-minute solo shot as a drunken porter. Caitlin

Macy-Beckwith is impressive as Lady Macbeth’s loyal lady in waiting,

and Rebecca Hull is solid as her doctor.

The makeup design team of Chrissy Tiholiz and Elicia MacLean must

be credited with a fantastic piece of work, creating the many and

varied bloody effects of conflict. Costumer Lia Hansen has taken the

concept of futuristic dress in a world annihilated by weapons of mass

destruction to its logical conclusion, with only Lady Macbeth

fetchingly garbed.

Any production of “Macbeth” should be an exhaustive experience,

and Vanguard University certainly qualifies in this regard -- the

audience files out as shaken as the actors must be, and the post-show

cleanup backstage must be equally challenging.

* TOM TITUS reviews local theater for the Daily Pilot. His reviews

appear Fridays.