Macbeth Review

The number and style of Shakespeare adaptations are virtually endless so it really isn’t surprising that a “Mormonized” version of Macbeth would eventually arrive. This particular version, directed by Barta Heiner, takes place within the realm of the Book of Mormon--with Mayan architecture and cultural symbology. Heiner justifies her adaptation by pointing out the “striking similarities between the characters in Macbeth and the people and the signs of evil that are documented in the Book of Mormon” (Director’s note, program). That may be true, but unfortunately that doesn’t translate into a good adaptation. Changing the costumes and altering the names of the characters and places does not make an adaptation. While there is potential in Heiner’s approach, the transformation is incomplete. The result is a production that is at war with itself. On one side is the production design and on the other is the text. As a result, the audience never melds with the production because they can never fully believe in the setting or the dialogue.

Part of that problem stems from the weakness of the production design itself. At first the set is interesting, consisting of large Mayan pillars that form a semicircle around the stage which has three large “fire pits” on an elevated platform. But as the play plows forward the static set becomes a liability; there are only so many times that actors can interact with a fire pit without becoming redundant. The set also lacks adequate acoustic accommodation, thus forcing the actors to expend effort into projecting their voices which limits the possibility of dynamic character portrayal.

The costumes of this production are also a weakness, lacking authenticity. Most feel as if they were pulled from a mismatched pile of garb found at DI; like the garish robes of children playing dress-up. Judging by audience reaction, the best costumes of the night entailed a group of shirtless men with large muscles, which drew audible admiration from the ladies present.

On the positive side, the cast invested themselves into their roles and delivered solid performances, even with the difficulties involving the production design. The best performances were from the actresses playing the Wayward (Weird) Sisters. These scenes were able to transcend the conflict inherent within the adaptation because the idea of witches is so universal that the conflict in the setting and language disappeared. Randy King’s performance as the porter also deserves mention because it displayed the humor found within Shakespeare’s writing through King’s lively delivery. Other positives include the battle scenes, which were energetic and entertaining, and the sound and lighting, which delivered an excellent ambiance for a Shakespearian tragedy.

Normally I would commend a director for staying true to Shakespeare’s text, but in this case it was a mistake. If Barta Heiner wanted to do a Book of Mormon version of Macbeth, a greater gamble should have been taken to develop a script that would incorporate Book of Mormon language and themes. Otherwise she should have stuck to Shakespeare’s original formula, which is never a wrong move.

--J.A. Devenport