Review: 'Macbeth' at BAM an Emotional Roller Coaster

BAM's new production of “Macbeth” is a no frills, bare-bones interpretation that is at times riveting, but exhausting throughout.

The performance, put on by revered British theater troupe Cheek By Jowl is ultimately hamstrung by its aesthetic. Shakespeare's tale of a man undone by wild ambition is typically one of his most action-packed, but this version is cerebral to an extreme degree.

There are no actual daggers used for the murder of Duncan. The actors mime swordfights, rather than use props. And don’t look for any “double, double toil and trouble” here — there is no cauldron, and the witches  (there are two, rather than three) are a mere afterthought.

Instead, this version of “Macbeth,” running at BAM until April 17, zeroes in on the relationship between the eponymous tragic hero and his equally power-hungry wife, Lady Macbeth.

From the outset, Macbeth, played by Will Keen, is a trembling little man teetering on the brink of insanity. At every moment he shows a shred of doubt or weakness, Lady Macbeth, played by Anastasia Hille, uses her sexuality, or outright cruelty, to goad him along.

The pair delivers appropriately bi-polar performances. In one moment they’re riding high, the next they’re screaming at the top of their lungs, bemoaning the many demons haunting them. They also get quite a work out; Keen and Hille literally spend the first half of the two-hour play running back and forth across the stage while wrestling with their avarice.

All the actors are dressed in black, and the only props are several wooden boxes used mostly as seats. There are absolutely no distractions from the relentless screams of the Macbeths as they fall deeper into the abyss. It makes sense, but it is taxing on the audience.

The austere wardrobe of the cast also comes at the expense of key supporting characters. The actors playing Banquo, Macduff, and Malcolm are indistinguishable from the crowd usually on the stage who play bit parts or occasionally provide sound effects.

Still, there are many haunting moments in the play. The appearance of Banquo’s ghost — which initially seems nothing more than a floating head — is unforgettable.

In an interesting twist, Macbeth is alerted to the fact that his wife is dead while caressing her face. Typically, Lady Macbeth dies off-stage — but in this version, Macbeth is haunted by her ghost, as well. It was a clever, surprising moment that underlined the psychic link between the two bloodthirsty lovers.

Keen’s performance in the final act, when Macbeth’s days are numbered, was excellent. When he exhorts the audience to join him in his final battle, he seems more alone than ever.

But even if one of the spectators had volunteered to fight, it's doubtful they'd be of much help. By the end of this play, most viewers were emotionally spent.

For showtime information and tickets check here.