Something Wicked Awesome This Way Comes—A Review of Macbeth

By Joseph Szalinski

On my latest traipse through the tangled timber of Western Pennsylvania, I happened upon three weird sisters who offered prophecy: I will write another review with random references, I will become Pittsburgh’s preeminent theatre critic, and you will see Hobnob Theatre CO.’s production of Macbeth, directed by Ken Smith, now running at Hobnob Theatre Studio in Butler, PA.

Shakespeare’s “Scottish Play” (no, not Braveheart: The Musical) concerns itself with the titular character and his descent into madness. As his sanity slips, he practices some heavy handed acupuncture, bonds with Lady Macbeth, and suffers from hallucinations and paranoia like he’s just patronized a shifty apothecary. All leading up to an ecologically inspired skirmish that seems to have influenced military strategy from American Colonists to the Viet Cong.

Aside from the evergreen themes explored in the story, this classic tragedy is replete with wonderful performances. From the eerie opening to the show’s closing moment, the cast simply mesmerizes. Right away, audiences are unsettled by The Weird Sisters (Kari-Anne Innes, Amy Dittman, Casey Hoolahan) whose creepy choreography makes skin crawl, in tandem with their body movements, line delivery, and makeup (Delaney Gatenby). Similarly, The Murderers (Daniel Williams, Kari-Anne Innes, Craig Adams) evoke a palpable dread that’s often overlooked in other iterations or interpretations.

Contrasting with the play’s horror is a spot of comedy courtesy of The Porter (Jack Senske); his meta-humor offers a brief respite from the chaos and violence. Senske’s scene is a standout with his delightful combo of verbal and physical comedy.

In regard to more psychologically fraught portrayals, there are plenty of phenomenal performances from the principal players. Casey Bowser, in addition to appearing as The Doctor and serving as assistant director, is terrific and terrifying as Banquo, MacBeth’s congenial compatriot-turned-victim. Even in death, Bowser brings the character to life, plaguing his treacherous friend with ceaseless haunting and chilling stares.

Daniel Williams is remarkable as Macduff, the opposing nobleman to Macbeth who eventually does “Mick Dagger” in. He holds nothing back, surrendering to Macduff’s emotional volatility, delivering moving speeches and showcasing his intensity in the scenes in which he appears.

Kevin Vespaziani (Macbeth) and Deanna Sparrow (Lady Macbeth) Photo Credit: Michael Dittman

The Macbeths, one of literature’s favorite toxic couples, are brilliantly depicted by Kevin Vespaziani and Deanna Sparrow as Lord and Lady Macbeth, respectively. Their chemistry is compelling and cringe-inducing, the latter meant as a compliment. This dastardly duo slaughters soliloquies and murders monologues as they masterfully demonstrate their twisted devotion to fate and to one another through powerful dialogue, odd embraces, and conspiracy. Sparrow makes fantastic use of her own physicality to highlight Lady Macbeth’s loss of self and sanity amidst inescapable guilt and suspicion. Vespaziani’s turn as the off KILTer Scotsman is incredible. His spellbinding execution of the manic intricacies of the skittery dictator is on full display as he succumbs to his predestined possession for power by any means necessary.

Sound design by Ken Smith is superbly orchestrated. Not only are the actors’ voices seamlessly amplified, but the voice modulation for certain characters is also a nice touch; it really works well with the Weird Sisters. Costumes by Vikki Safran really fleshed out the world and helped make it more immersive. The props greatly elevated the gravity of the performances, and it was cool that they were primarily supplied by the stage manager/sound console operator, Carrie Allio, as well as the cast themselves.

While nearly every date is slated to run at Hobnob Theatre Studio, opening night was held at Big Rail Brewing in Grove City. Having to produce a show of this magnitude in the middle of the woods would be daunting for most companies, especially with all of the technical dressing that complements the astounding acting, but Hobnob handled it with a seasoned ease, having cut their teeth putting on Shakespeare in the Park shows for as long as they existed. And what an epic opening night they had; optimal weather conditions, a sizeable crowd, cozy beverages, and crackling flames that worked in concert with the lighting by Stephen Fogle. What better way to celebrate theatre than to bring together two things a person probably shouldn’t jokingly mention in one: Macbeth and fire. For those upset about missing a chance to imbibe while being cultured, fret not. Tannin and Tonic by Porchvue Winery have made specialty cocktails that will be sold at their location in addition to the lobby of Hobnob Theatre Studio on show nights—a move that The Bard would certainly approve of.

Whether in their space on Butler’s North Main Street or a stage somewhere else, Hobnob puts on a marvelous production. Oscillating between tried and true theatrical staples and amazing original plays—on top of their other artistic endeavors—makes them an indispensable part of this area’s theatre community. An undeniable passion for creating something special, coupled with a willingness to take risks, continues to prove why anyone who enjoys live performance should check out Hobnob’s shows.

-JS

Macbeth continues its run Oct. 19-20, 25-26 at Hobnob Theatre Studio in Butler, Pennsylvania. For more information, click here. 

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