The song is by Robert Burns. This is followed by the Scottish bagpipe tune Flowers of the Forest. In Act 2, Scene 5: Here we use two of the songs and an instrumental Symphony written for a s production of our play by John Eccles — The songs, both for the witches and intended to be performed with effects and grotesque gestures are an intentional and entertaining interruption of the action of the spoken play.
This music is repeated just before intermission. Prologue to Act 4, Scene I: Here is the most substantial musical interlude of the evening, right after intermission. They are Heccate, Heccate, Heccate, come, come away and Black spirits and white. Before Act 4, Scene 4: You will hear the Gregorian Marian antiphon Salve Regina , first sung and continued as an underscore on viola da gamba.
You will hear it again at the end of the scene rhythmicized on bagpipe. The Macbeth you are about to see is set in such a world. A brutal landscape in the ancient past where the common goal of survival has brought together a group of people faithful and respectful to one another. All are raised to be fearless warriors, trustworthy to the death. A strict code of conduct promoting loyalty and courage over all other virtues binds them together.
Preservation of the group is an almost sacred task. What happens when someone betrays this code of conduct? When they abuse this position for personal gain with no regard for the common good? What happens when a tyrant abandons even the pretense of governance and incites violence and murder among a people in order to maintain their power?
We have seen so many ancient tyrannies pass from earth since Egypt and Rome held dominion that our eyes are directed not to the tragic present. Yet, justice will not fail, though wickedness appears strong, and has on its side the armies and thrones of power. They do not, nor cannot, make him do anything. They are imbued with the gift of prophecy, but they are human and of the earth.
They state things which already are, or things which may one day be. While both actors did a great job during this scene, it seemed like they were holding back. Granted, being fully comfortable with a lengthy violent action sequence takes time. That being said, the audience was riveted to the action being performed in front of them.
She was outstanding. Her portrayal of Banquo is one of the best I have seen. She was the perfect mix of supernatural darkness and devious playfulness. Nigel Gore gave a humorous performance of the Porter while also portraying the regal King Duncan.
The at-first-glance simple, yet increasing intricate and detailed scenic design by Cristina Todesco featured a long, raked, black runway or platform that also served as a table. It sliced through the playing space diagonally from an up stage corner and ended just shy of the audience. The other production I did was an outdoor version and we decided to have two intervals involving moving the audience. The audience moved to a tree underwhich Benedick was sleeping off a hangover from the party - when the audience was set, the costumed usher awoke him by pouring the remains of his wine bottle over him for a stuttering start into his monologue.
This interval worked well as a second interval but I feel it is too deep in the script for a single interval. Good luck with it - its a fun play. Page : 1. There are no replies made for this post yet. Be one of the first to reply to this post! Please login to post a reply.
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