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.