Shakespeare References in Stalkers

Stalkers is a collection of short stories in the horror realm, edited by Ed Gorman and Martin H. Greenberg. It contains two Shakespeare references, both of them to Macbeth. The first comes in a story titled “Darwinian Facts,” written by Barry N. Malzberg. Malzberg writes, “Murder exceeds knowledge by a sufficient factor, oh Macbeth” (p. 310). The second reference is in Michael Seidman’s story “What Chelsea Said.” Seidman writes, “The people who knew Thomas Franchi knew that in him the milk of human kindness had curdled into nothingness” (p. 363). That is a reference to Lady Macbeth’s line: “Yet I do fear thy nature;/It is too full o’ the milk of human kindness.”

Stalkers was published in 1990.

Queen Margaret’s Version of Shakespeare’s War Of The Roses (Will Geer Theatricum Botanicum 2023 Production) Theatre Review

production photo by Kevin Hudnell

Will Geer Theatricum Botanicum continues its special season, celebrating the theatre’s fiftieth year, with Queen Margaret’s Version of Shakespeare’s War Of The Roses, which is a combination of four of Shakespeare’s history plays – the three parts of King Henry The Sixth and Richard The Third. As its title suggests, this production focuses on the character of Margaret, who was Queen, married to Henry VI. As it depicts the struggle for power between the house of Lancaster and the house of York, this production also highlights the other female characters of these plays, showing the parts the women played in this conflict, and eventually the pain and misery brought upon all of them. This production is directed by Ellen Geer, who also chose the scenes from the four plays to be portrayed. As you might guess, four plays squeezed into a two and a half hour span means a lot of cuts, and also a fairly fast pace, so at least a general familiarity with the plays is helpful to follow some of the action.

The performance does include a bit of narration at the beginning to set the scene and give a bit of information regarding the death of Henry V (since the funeral scene at the beginning of The First Part Of King Henry The Sixth is cut), and explains that the events will be shown from a woman’s point of view. The play then begins with the second scene from The First Part Of King Henry The Sixth, just before the entrance of Joan La Pucelle (Claire Simba). Interestingly, when Charles (Rhett Curry) engages Joan in combat, he has a dagger while she is unarmed. Doesn’t seem quite fair, does it? And that of course is the point. Yet she quickly disarms him, and is then presented with a sword. It is the first, but certainly not the last, display of female strength in the play. And soon she and Charles lead a group into battle, which takes place over the entire stage, even with archers above. The action soon jumps to Act V Scene iii, when York (Max Lawrence) encounters Joan. There is a nice moment where she is disarmed, goes to reach for her sword, then punches York. Later, Joan’s curse is delivered to the audience.

Much of The First Part Of King Henry The Sixth is cut in order to quickly reach the first appearance of Margaret (Melora Marshall), when she is the prisoner of Suffolk (Jon Sprik). The attraction between them is strong, mutual, and is apparent immediately in this production. One thing that is always so interesting, and funny, about this scene is that Margaret hears Suffolk’s asides, and comments on them. Both actors handle this scene incredibly well. Margaret’s father, Reignier (Christopher Wallinger), uses the moment to bargain for Maine and Anjou, and his joy is apparent when those terms are accepted, the lands being much more dear to him than his daughter. It’s actually a really funny moment here. And of course, losing Maine and Anjou ends up causing trouble for Henry VI, deepening rifts and creating resentment and tension. It is in The Second Part Of King Henry The Sixth that we see the reactions to the news of the loss of those territories. First we are treated to the reaction of Henry (Emoria Weidner) to meeting Margaret, a delightful moment, for Henry’s youthful excitement raises spirits of those present, which then are immediately dashed when Gloucester (Franc Ross) reads the terms of the peace. The feeling in the room completely changes, except for Henry, who seems oblivious, a sure sign of his troubles. York is especially angered, and he takes up the paper to read himself downstage center. Max Lawrence was outstanding as Macbeth in this season’s production (which is still running), and likewise turns in an excellent performance as York. Franc Ross is also quite good as Gloucester.

The scene between Gloucester and Eleanor (Willow Geer) is performed on the upper level, stage right. This company always makes such great use of the space, but more on that in a bit. Eleanor is loving and kind of playful, and even seats herself on Gloucester’s lap on “my sweet duke.” After Gloucester exits and she says “Follow I must,” her demeanor suddenly changes. She is no longer playful. That is, she is no longer playing. Willow Geer, who was tremendous as Lady Macbeth, is excellent here. Later, when Eleanor is charged with crimes, there is a nice moment where she and Gloucester reach for each other, but are unable to make contact. When we next see Margaret and Suffolk alone together, she puts herself in his arms, making it quite clear that their relationship has continued and progressed. When Henry VI and the other enter, Gloucester at one point says, “These are no women’s matters.” In this particular telling of the story, that line rings even more untrue than usual. It in fact feels like a key line of the play, for not only do all the matters discussed by the men directly impact the women, but Margaret proves herself at least as capable as the men at intrigue and plotting. And of course we have already seen the strength of Joan at work. It is also clear that Margaret has much more inner strength than Henry. At the end of that scene, when Henry beckons to Somerset (Tim Halligan), saying he’ll seem him to France, he glances worriedly at York, who has again taken that seat down center, a really nice moment showing that even when Henry is issuing commands, he is not sure of himself.

I mentioned earlier how this company makes great use of its wonderful space. One moment in particular that stands out is at the beginning of Act II of The Second Part Of King Henry The Sixth, when Henry VI and the others are discussing falcons. They enter from the woods off to the right of the audience, and it is there that Henry seems very much in his element, feeling more relaxed and at peace. That scene works naturally well in this space. And it makes the trouble seem even worse for him by contrast, just moments later when it is clear that things are out of his control. And the scene where Eleanor is paraded by in shame, the rabble that she speaks of are within and behind the audience, effectively making the audience a part of them, a nice touch.

At the beginning of Act III of The Second Part Of King Henry The Sixth, though Henry VI is seated upon the throne, it is Margaret who holds the attention of all who have assembled. She is the one who is given the long speech by Shakespeare, she is the one who commands the floor. However, Henry VI does show some passion, some strength when he speaks of Gloucester’s goodness. Franc Ross is excellent as Gloucester here, and Max Lawrence is great as York when he suggests sending Somerset as regent. When York is left alone at the end of the scene, he sits upon the throne. Margaret knows just how to play Henry VI after news reaches him of Gloucester’s death. Margaret is obviously the focus of this production, and Melora Marshall is excellent as Margaret throughout the performance, covering several decades of the woman’s life, certainly not an easy task. But there are some moments when she is just absolutely fantastic, as when she worries about Suffolk, almost nervously laughing off the idea that he could be responsible for Gloucester’s murder. I love her delivery of “Where’s your knife?” And both she and Suffolk are particularly good during their final moments alone. It is interesting that after Suffolk’s death, Margaret’s power and strength manifest in different ways, and Melora Marshall does a great job of showing that, as when she is furious at learning that her husband has agreed to let York and his heirs inherit the crown. She is warlike over Henry VI’s bent form, which provides a hint of what she is capable of. She soon proves those capabilities when she stabs York. And in Act V of The Third Part Of King Henry The Sixth, we see people gathered around her, kneeling, as she steps onto a bench and tells them, “Why, courage, then!” And we see that she is a true leader. And, after her son is killed, we see another side of her. Melora Marshall is incredible in this scene, as she tries to get Clarence to kill her too.

Both Jon Sprik and Claire Simba give excellent performances as Richard III and Lady Anne respectively in the wooing scene in Act I of Richard The Third, which is a difficult scene. Claire Simba delivers the line “I would I knew thy heart” quieter than her previous lines, a wonderful way to show her resolve is weakening, that she would acknowledge that this man even has a heart. Another interesting choice is that the gift of the ring seems to go a long way to persuade her. She seems rather enamored of the object once it is upon her finger. I love that Margaret, now older, enters from the woods, because there is something wild about her at this point, something untamed. She now has a different sort of power. Melora Marshall is compelling in this scene, as she tells Richard he owes her a husband and a son. And when she exits, it is back into the woods. But perhaps the most powerful scene of all is when Margaret returns and speaks with Elizabeth Grey (Willow Geer) and the Duchess of York (Cynthia Kania), sort of welcoming Elizabeth into the dark land of sorrow that she knows well, understanding that Elizabeth feels the pain and anguish that have been Margaret’s companions for quite some time. Willow Geer is then excellent when facing Richard as he attempts to take her daughter from her. Interestingly, Elizabeth’s daughter is present in this scene (though without lines). Jon Sprik does such a phenomenal job as Richard, even though most of his great speeches are cut (including those famous opening lines). Of course, without those soliloquies, the audience receives a much different sense of Richard, for in those speeches Richard in a way is wooing the audience. None of that is allowed to occur in this production. And because the play focuses on the female characters, also gone are Talbot and the entire Jack Cade plot. Perhaps the oddest cut of all is losing the scene where the red and white roses are chosen, where essentially everyone picks sides. Though this occurs before Margaret’s first entrance in The First Part Of King Henry The Sixth, it is an important scene. And its loss seems strange particularly as the line about uniting the roses is included at the end of the production.

This production of Queen Margaret’s Version of Shakespeare’s War Of The Roses runs through October 1, 2023 in repertory with Macbeth, A Midsummer Night’s Dream and Terrence McNally’s A Perfect Ganesh. Visit the theatre’s website for the complete schedule. There is one intermission, which comes during Act I Scene iv of The Third Part Of King Henry The Sixth. Will Geer Theatricum Botanicum is located at 1419 N. Topanga Canyon Blvd. in Topanga, California.

Into The Breeches! (International City Theatre 2023 Production) Theatre Review

production photo by Kayte Deioma

During World War II, when most of the men were off fighting in one or another branch of the military, women took over many roles and positions previously held by men. Different aspects of that experience have been explored in films like Swing Shift and A League Of Their Own, and in the absolutely wonderful play Into The Breeches!, which premiered in 2018, and is now being performed at the International City Theatre in Long Beach. Written by George Brant, this play takes place in 1942, and depicts the efforts of Maggie Dalton to keep the local theatre going while the men are overseas, and in doing so discovers her own voice and creative vision. Though it takes place eighty years ago, this play clearly addresses topics that are current, when women’s rights are still not set in stone, when their equality is not fully accepted, when misogyny and racism are again on the rise. The play is funny, warm, spirited, and at times incredibly moving, and this production features a stellar cast.

As it opens, Maggie (Meghan Andrews) enters alone, steps downstage and begins to recite the first speech from Henry The Fifth: “O, for a muse of fire that would ascend/The brightest heaven of invention.” It is interesting that because the play takes place largely in a theatre, the stage sometimes functions as an actual stage, as it does here in these opening moments. And so the theatre audience is actually in the theatre of the world of the play, bringing us closer to the play’s action. When Celeste (Leslie Stevens) enters, it is through the audience, and once she steps onto the stage she grows in stature and power. And in ego, for she thinks that Maggie is considering having her do a one-woman show of the various roles she has brought to life. She is hilarious as she takes control of the scene. When Maggie tells her she plans on going through with the season as planned, which begins with a four-hour amalgamation of the two Henry The Fourth plays and Henry The Fifth, with herself directing, Celeste tells her she lacks the authority to direct a play, and flat-out tells her that a male authority is required. But it is not long before Celeste sees herself as the lead, Prince Hal. She is hilarious as she exits, repeating “Farewell,” each time dipping a bit lower in register, already preparing for her role. And, as she soon reveals, Maggie plans on following her husband Andrew’s notes on directing the play. So, in essence, at this point it is still a man’s vision that will be realized.

She first, however, has to convince Mr. Snow (Nicholas Hormann) to fund the production, as he has decided to cancel the season, to go dark as had many other theatres. Maggie proves herself resourceful and able to think on her feet, when she decides the way to rope in Mr. Snow is by promising his wife Winifred (Holly Jeanne) a role in the play. Not many other women show up for the auditions, but even that doesn’t dissuade Maggie from pursuing her goal. And we see immediately during the audition process that Maggie can give direction, when she gives a pointer to June (Brooke Olivia Gatto), one of only two women who audition. The other woman, Grace (Emilie Doering), turns out to have natural talent, and it is soon clear that she would make a great Prince Hal. Having so few cast members means Maggie taking on a role or two herself, including the Chorus. And so she again delivers the “O for a muse of fire” lines.

As they begin the rehearsals, it is quickly apparent that the newcomers don’t quite understand the language, so Maggie’s task seems to be even greater. And of course outside concerns come into the theatre. How could they not, when the women’s husbands are at war, and those at home are expected to do their part in the war effort? Maggie is not alone in this endeavor, however. Stuart (Lee James) is the stage manager, and Ida (Sydney A. Mason) is the theatre’s costumer, and Maggie comes to rely on them both for more than their normal roles. And those two characters end up providing a lot of the heart of the production, as well as raise other important issues (which, sadly are still timely). June, the most gung-ho of the cast with regards to the war effort, suddenly demands to know why Stuart has not enlisted, and Maggie must face some of her own prejudices when Ida wishes to become part of the cast.

A great deal of the production’s humor comes from the characters of Celeste and Winifred. Celeste is determined to help get the newcomers into the right frame of mind by teaching them to walk like men, even having Ida create special pieces for them, leading to one of the funniest scenes of the performance. Holly Jeanne is absolutely fearless and delightful as she especially enjoys the feeling of this new accessory, even opining that she might need a bigger one. As funny as this production is, and there are a lot of laughs here, it is also quite moving. There are the moments one would expect where the women worry because they have not heard from their husbands. Grace and Maggie have a particularly touching scene that will likely bring tears to your eyes. But in addition to that, and to the equally moving moments regarding Ida’s spirit and Stuart’s spirit, what is particularly effective and moving is the way this group comes together and triumphs. The St. Crispin’s Day speech from Henry The Fifth is used in a way similar to that in Shakespeare’s work, and its effect plays not just upon the characters but upon those in the audience as well. You may very well come out of the theatre feeling like you can overcome odds in your own lives. It ends as it began, with Maggie on stage saying, “O for a muse of fire.”

By the way, you do not need an extensive knowledge of Shakespeare’s work to thoroughly enjoy and appreciate this play. While, yes, there are references to his work sprinkled throughout (as when Stuart uses the first line of Macbeth’s “Tomorrow and tomorrow and tomorrow” speech to spur Maggie to action), the play does not rely on them to make its point or for its emotional impact. This play is about moving ahead, facing change, overcoming obstacles, working together, and even dealing with aging, all things that any audience can understand and appreciate. And the cast does a phenomenal job.

This production of Into The Breeches! is directed by Brian Shnipper. It runs through June 25, 2023. Visit the theatre’s website for the complete schedule. There is one fifteen-minute intermission, and it comes after Maggie tells her cast to take a fifteen-minute break, which is delightful. International City Theatre is located at Beverly O’Neill Theater, at 330 E. Seaside Way in Long Beach, California.

Macbeth (Will Geer Theatricum Botanicum 2023 Production) Theatre Review

production photo by Ian Flanders

Will Geer Theatricum Botanicum is celebrating its fiftieth year as one of the most enjoyable places in southern California, or perhaps anywhere, to see a play. Built into the side of a hill off of Topanga Canyon Blvd., the theatre gives you the sensation of being deep in the woods, a rare and wonderful feeling in Los Angeles. It’s a place where magic not only seems possible, but probable. The company uses the space to great advantage, actors often making entrances from the surrounding woods, sometimes putting the audience in the middle of the action, making the crowd feel itself a part of the magic. It’s easy to get immersed in the story of a play out at this theatre. The season opened last night with a performance of Macbeth, one of four plays the company is doing this summer. This production is directed by Ellen Geer, daughter of Will Geer and Artistic Director since 1978, and it features outstanding performances by Max Lawrence as Macbeth and Willow Geer (Ellen Geer’s daughter) as Lady Macbeth. And it is that relationship that is at the center of this production.

The performance begins with the sound of thunder, as the witches gather, coming in from different directions, showing that this entire area is their domain, that we are in their territory. Adding to that sense is the fact that there are five witches (including, I believe, Hecate) in this first scene, rather than three. Somehow, when there are three witches, we get the sense that these are the only three in the realm. But when there are five, there is the feeling that there are probably even more lurking about elsewhere, that evil is prevalent. And in their second scene, they are rather playful in their evil. When they meet Macbeth and Banquo (Jeff Wiesen), the witches crawl about the stage, like creatures, surrounding Macbeth. They then scatter and exit, again like animals, so that Macbeth calls after them, trying to see where they went, which is a really nice touch. His lines where he seeks to know more are shouted into the night. Banquo then kneels when he says, “You shall be king,” serious for the moment before they both laugh, breaking the spell, breaking the hold the witches had over them. It is good to see Macbeth’s better side in these early moments. When he delivers the line, “chance may crown me/Without my stir,” we feel at that moment there is still a chance for him to follow a less murderous path. Franc Ross is wonderful as Duncan, particularly when delivering the line, “He was a gentleman on whom I built/An absolute trust.” The way he says it shows he is upset at being betrayed, and might be upset also at having to question his own judgment, something a king is likely not used to doing. This of course makes us think of what is to come, for the Thane of Cawdor, of whom he speaks, did much less against him than what Macbeth is to do. Macbeth, who is now the Thane of Cawdor. So again Duncan puts his trust in someone who is a little less than deserving, and does so immediately following realization of his first misplaced trust.

The stage has an upper level both to the far right and to the left, and when Lady Macbeth makes her first entrance, it is above stage left. She is seated as she reads Macbeth’s letter until she says the word “king,” rising then as if to a position of strength, showing a certain readiness for that position, which is a wonderful touch. She is almost giddy at the thought of the possible power before she begins to worry that her husband might not have the spirit to do what is necessary. She kneels before beginning the “Come, you spirits/That tend on mortal thoughts” speech, as if truly trying to summon them. But perhaps the most exciting and moving moment of this scene is when she says “take my milk,” for there, for a moment, we see a more vulnerable side, a hurt side, a part that has suffered. If Lady Macbeth did lose a child, as many have reasonably argued, how much does that inform her actions and her inclinations? And while in her weakened state, she suddenly sees her husband approaching (through the audience), and this renews her strength. Each is clearly happy to see the other, and they embrace. The strength of their relationship, of their love, is clear in that moment, and in how that moment is not rushed.

When Macbeth delivers his “If it were done” speech, the sounds of revelry and cheer come from inside. The contrast between his state of mind and the general state of levity of the others is striking. And I like how he glances back toward the place where the others are at a moment during the speech. There is also a really nice moment when he steps toward Lady Macbeth, and she steps backward, away from him. It’s a strong tactic for her to use as she tries to persuade him to act, and the look on his face when she does it is perfect. He is surprised and momentarily unsure what to do. This works particularly well as these two actors have already done such a great job of establishing their relationship. It is when she delivers the “I have given suck” lines that he turns to her, and the audience can see he wants to comfort her. Again, how much of a part does this mysterious lost child play in their lives? Macbeth does comfort her when she says “dash’d the brains out,” which is perfect. It is also great seeing him comfort her at this stage, because later we see Lady Macbeth trying to comfort him. I also love her delivery of “We fail?” asked as if it is impossible for the two of them working together to fail at any task. And who knows, she might be right, for things start to fall apart for them when Macbeth begins acting without her input. Interesting, isn’t it?

During the dagger speech, it is interesting that on “Moves like a ghost,” Macbeth is on the floor, crawling forward a bit, reminding us of the movements of the witches. Lady Macbeth delivers her speech to the audience, and says the line “I have drugg’d their possets” with a certain amount of pride. It’s not difficult for the audience to get caught up in her excitement, which itself must give the crowd pause. The witches play a somewhat larger role in this production, with one of them making a noise that leads to Macbeth’s “Didst thou not hear a noise?” And Lady Macbeth has a strikingly bitter tone when she tells her husband, “but I shame/To wear a heart so white.” It’s a fantastic moment, and it’s clear that then she has lost some respect for Macbeth. And because she spoke with such pride when recounting how she had done her part, it is even more striking here how she believes that her husband did not do his. Their relationship is what drives the action of the play, and so these changes between them, these rifts, are all the more compelling.

The Porter (Franc Ross) holds his head as he says his first line, “Here’s a knocking, indeed,” indicating a headache as well as the actual knocking on the door, the headache presumably the result of drinking long into the night. And when he says, “here’s an equivocator,” he points to someone in the audience. Later when he says “equivocator” again, regarding alcohol, he point at that same person in the audience. And after Macduff (Aaron Hendry) wakes the household, Macbeth is at one side of the stage and Lady Macbeth far opposite him, with many people between them. Lady Macbeth is clearly eager to get to her husband’s side, to keep him from saying the wrong thing and raising suspicion. The audience can feel her anxiety, her worry. When she does finally reach him, she does her best to silence him. Failing to hush him, she faints, which draws attention away from him. This entire scene is handled really well, with a great tension. And later Lady Macbeth’s concern for her husband is clear as she tries to steady his mind and offer comfort. Her deliver of “What’s to be done?” is fantastic, showing just how nervous she is, for now she sees his plans may be separate from hers, that events may be out of her control. Macbeth, by the way, says “scotched the snake” in this production, using Lewis Theobald’s emendation.

In this production, Seyton (Mark Cosby) enjoys a somewhat expanded role, as Macbeth’s trusted henchman. As such, he takes part in the murder of Banquo, which makes the character of the Third Murderer unnecessary. We wonder, as do the other two murderers, why that person comes in, since Macbeth has already appointed someone to watch over them. Still, that scene is done well, and Fleance escapes through the audience. Seyton also stands as a sort of watch during the banquet scene, and he is the first to rush to calm Macbeth after he is rattled by the appearance of the ghost of Banquo. Lady Macbeth then goes to him for her “Are you a man?” line. It’s an interesting dynamic. Is Macbeth coming to rely more on Seyton than on his wife? And Mark Cosby does an excellent job in the role. As Macbeth unravels furthers, at one point he enters into the audience, when saying, “The times had been,/That, when the brains were out, the man would die.” It is like he is trying to remove himself from the very story that he created, now that the story has left his control. It’s a fantastic and even frightening moment. And when he tells Lady Macbeth that he plans on going back to the witches, Lady Macbeth kneels, weeping, realizing this madness is not over. It is when both of them have lost control. Later, when Lady Macbeth enters for the great sleepwalking scene, she starts in the very place where we first saw her as she read Macbeth’s letter, and the audience cannot help but think of how much has changed since then, how much she has changed.

The Hecate scene, which is sometimes cut, is included here, with Hecate (Taylor Jackson Ross) starting the scene above the other witches. She then comes down to take part in the “Double, double, toil and trouble” scene, and in this production she is the one who delivers the “By the pricking of my thumbs” line. Also included in this production is the dialogue between Lady Macduff (Claire Simba) and her son, which is great because this lighter moment makes what is coming all the more powerful. And, yes, the scene where Macduff’s home is taken is horrifying and heart-wrenching. Then both Aaron Hendry and Cavin Mohrhardt are excellent as Macduff and Malcolm respectively in the scene where Macduff has come to urge Malcolm to fight, and Malcolm feels a need to test Macduff before trusting him. When Malcolm says, “Nay, had I power,” he is standing above Macduff, in a position of power. And indeed, as it turns out, he is ready to return to Scotland and claim the throne. And because of the site of this theatre, when great Birnam wood marches to Dunsinane, the soldiers are actually able to come in from the woods.

This production of Macbeth runs through September 23, 2023. Visit the theatre’s website for the complete schedule. There is one intermission, which comes at the end of Act III scene iii. Will Geer Theatricum Botanicum is located at 1419 N. Topanga Canyon Blvd. in Topanga, California. Arrive early to allow yourself a little time to walk the grounds before the performance.