More than most, the works of William Shakespeare allow for wide variations in artistic interpretation and presentation. It’s the reason that you may have seen a psychedelic production of “Midsummer Night’s Dream,” a modern version of “Twelfth Night” or a “Julius Caesar” that dresses the Roman senators in suits and ties reminiscent of Western politicians.
Great Lakes Theater’s current presentation of “Macbeth” is the seventh time the company has staged this popular tragedy, the most recent being in 2018. So, what defines this show and sets it apart from other productions of the same work? Double casting, relatable tragic heroes and a fascinating usage of light and color palette, for starters.
In William Shakespeare’s “Macbeth,” two Scottish generals, Macbeth (Jeffrey C. Hawkins) and Banquo (Nick Steen), have just quashed a rebellion. As they cross a moorland, they happen upon three weird sisters (Kelsey Angel Baehrens, Jonathan Contreras and Ángela Utrera). These witches foretell that Macbeth will become king and that Banquo will be father to a line of kings.
Lady Macbeth (Cassandra Bissell) is eager to see the witches’ prophecy come to fruition. When King Duncan (David Anthony Smith) visits the Macbeth castle, the Macbeths work together to murder the king and frame his chamber attendants for the crime. However, once the Macbeths have secured the crown, they are relentlessly haunted by their suspicions, their ambitions and their foul deeds.
Sara Bruner, Great Lakes Theater’s producing artistic director, serves as director for this haunting production. After Bruner’s enticing direction of “Twelfth Night” roughly one year ago, her artistic interpretation of this powerful tragedy was eagerly anticipated.
The show begins on strong footing with its presentation of the three witches. Outfitted with long, stringy, white hair (wig designer Caitie Martin), spindly fingers and ribcages worn like vests, the three weird sisters are immediately eerie and intimidating. The highly physical actors portraying the witches make sharp, contorting movements as if they are possessed, accompanied by disturbing crunching and crackling noises (sound designer Matthew Webb).
Less intimidating is Macbeth, who is given an every-man approach by actor Hawkins. In many ways, this approach benefits the play’s messaging about the ability of power to corrupt, as Hawkins’s Macbeth is a somewhat standard man who eventually falls victim to his own ambition and desire for legacy.
The relationship between Macbeth and his wife is one of the strongest husband-and-wife couplings represented within Shakespeare’s works. Bissell’s Lady Macbeth is a strong, no-nonsense woman who tries to take charge of her family’s destiny. While they may not exude outright romantic chemistry, Hawkins and Bissell’s Macbeth and Lady Macbeth are undeniably loyal partners in crime.
An ensemble of 13 is used to represent upwards of 30 characters. In the show’s playbill, it is explained that the double casting of the weird sisters as members of Macbeth’s household provides Macbeth with opportunities to question his sanity. In this, it is successful. However, the double casting of roles, apart from the weird sisters, takes what was a rather accessible production of Shakespeare and adds in a dose of complexity.
While they may adorn different Medieval attire (designer Mieka van der Ploeg), the performances of the double-casted actors are so unvaried and recognizable that it can be difficult to quickly separate one character from another. The double–and sometimes triple–casting of MacDuff (Joe Wegner), Banquo (Nick Steen) and King Duncan’s sons, Malcolm (Avery LaMar Pope) and Donalbain (Evan Stevens), has the potential to lead to confusion, especially for those unfamiliar with “Macbeth” or new to Shakespeare.
Great Lakes Theater knows its Shakespeare, and the cast does a fine job in their delivery of the script. Special attention is owed to Wegner as MacDuff, who embodies such a raw moment of dismay and devastation that it’s positively spine-chilling. The other more memorable moments of the show occur during Macbeth’s mental decline, and in this, much credit is due to the production’s creative elements, especially the lighting (designer Rick Martin).
The multiple wooden ramps that make up the majority of the set (designer Courtney O’Neill) are scattered with candelabras. These are lit normally at first, but as Macbeth becomes haunted by the witches’ prophecy and his murderous actions, they blaze a brilliant, stark white. The same bright white light is used in spotlight form, interacting magnificently with the fog that is continuously pumped onto the stage. When combined with music from the show’s custom soundscape, it creates an eerie, spectral vibe.
The color white is used most interestingly throughout the production. The bleached bones adorned by the witches, the regal garb worn by the Macbeths and the modern, leather furniture employed after the Macbeths seized the crown are all a similar, pristine white. This creative decision isn’t just visually striking; it also provides substance for commentary on righteousness and purity that becomes doubly intriguing when red leeches into the color palette.
“Macbeth” is one of the more commonly staged Shakespearean plays; yet, you will never see the same production twice. Such is the wonderful, intriguing nature of theater: playhouses start with the same script, but their interpretation and presentation of that script can vary by multitudes. Yet, just as Shakespeare provides great creative freedom, it is also primed for scrutiny and comparison. Is Great Lakes Theater’s show a strong, adept production? Of this there is no doubt. Is it strong enough to stand apart as one of the more memorable or impactful productions of “Macbeth” this reviewer has seen? Perchance not.
“Macbeth” runs through April 4, 2026, at the Hanna Theatre, 2067 E 14th St, Cleveland. Visit greatlakestheater.org or call (216) 241-6000 for tickets, $30-107.
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