A tale of malice, matrimony and murder, MACBETH tells the story of one couple’s obsession with power—and their guilt after doing the unthinkable. For 15 weeks only, this thrilling new production will capture the passion and ferocity of Shakespeare’s most haunting text like never before.
Almost tenderly, then, the production drifting around Craig touches him only lightly. It's an unusually bare staging for Broadway, stuffed with ideas but stripped clean of folderol. For the majority of the company, director Sam Gold has settled on a kind of still-in-rehearsal vibe, with big events whirling up out of an empty theater lit dimly by ghost light. Who is a witch and who is a laird in any single moment seems fluid - appropriately for a cast hamstrung repeatedly by COVID setbacks, anyone might play anyone. In contrast, Craig and Ruth Negga, as Lady Macbeth, are incontrovertibly stars, gliding across the space like slow, gleaming peacocks.
I wish I didn't have the nagging feeling that the director was less interested in these actors than in his special touches. These include a particular attention to gore (an amputated leg chopped up as part of the witches' brew elicited an audible blecchh from the audience.) This seems ironic, because this 'Macbeth' struck me as a bit bloodless.
1870 | Broadway |
Original Broadway Production Broadway |
2018 | West End |
Royal Shakespeare Company London Production West End |
2022 | Broadway |
Limited Engagement Broadway |
West End |
West End |
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West End |
West End |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2022 | Drama Desk Awards | Outstanding Actress in a Play | Ruth Negga |
2022 | Tony Awards | Best Lighting Design of a Play | Jane Cox |
2022 | Tony Awards | Best Performance by an Actress in a Leading Role in a Play | Ruth Negga |
2022 | Tony Awards | Best Sound Design of a Play | Mikaal Sulaiman |
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