Duncan, King of Scotland .... Marsha Harman Donalbain, his Son .... Geoffrey Waltz Malcolm, his Eldest Son .... Christopher Gilkey
Generals of the King's Army
Macbeth .... Eric Chase* Banquo .... Joseph McGranaghan
Noblemen of Scotland
Macduff .... John Steffenauer Lenox .... Kate Hess Ross .... Danielle Grabianowski Angus .... Jennifer Lynne
Fleance, son to Banquo .... Melanie O'Malley Boy .... Melanie O'Malley Lady Macduff .... Kate Hess A Porter .... Danielle Grabianowski A Doctor .... Joseph McGranaghan
Three Witches/Lady Macbeth ...
Marsha Harman, Gwyn Hervochon, Sarah Murphy
*Member of Actors' Equity Association, the Union of
Professional Actors and Stage Managers in the
United States, appearing under a special appearance
Director .... William Addis
Production Stage Manager .... Stephanie T. Cromme
Asst. Stage Manager .... Aaron Jefferson Tindall
Lighting Design .... Tony Tambasco
Costume Design .... Justin Honard
Set Coordinator .... Geoffrey Waltz
Sound Coordinator .... Stephen Stanley
Dramaturg .... Siobhan Glennon
Fight Choreographer .... Joe Mihalchik
There is a certain black magic about Macbeth that can
only really be experienced during a night time performance in a
field lit only by candles, flashlights, and the pale moon. Macbeth
relies on darkness to hide his evil deeds, but surrounded by
darkness, he sees only the ghosts of his victims, and fleeting
glimpses of those who are actually there.
Lighitng Macbeth in a 3/4 round space gave me some
wonderful opportunities to always keep part of the cast in shadow.
Even if one side of the audience could see someone clearly, it was a
sure bet that another character was obscured by thelow levels the
space was at. It is unfortunately an effect that is not easily
captured on film, but some of the pictures in the gallery will give
you a sense of what the performance looked like.
Follow Spot Cues:
I used a follow spot as a psuedo-intelligent fixture (no offense, AJ)
to help offset some of the limitations of the space, and the number
of fixtures I had available, but it did take on a more traditional
role for some of the more notable soliloquies. Especially as a way of
isolating the speaker when there were still others present on stage.