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Invictus Theatre Company is known for producing great theater by legendary playwrights. Arthur Miller's The Crucible is a fine example of a production that pinpoints the allegory of witch hunts and the use of religion as a weapon. Invictus also stages compelling productions by contemporary playwrights, like Lynn Nottage's Ruined. I was excited to see what they would do with Shakespeare's The Tragedy of Macbeth, and I came away a bit disappointed.
This production was adapted and directed by Sarafina Vecchio, who makes interesting choices that drag on this classic story of seething ambition, treachery, and murder with a good dose of occult inspiration. First, one of the best choices is the Weird Sisters or the witches. Christy Arrington, Tessa Dougherty, and Alexandria Bressette lean into a more authentic portrayal of the pagan traditions of Wicca. Witches work to become one with nature. Their pets are called "familiars," and they possess knowledge of botany for medical and psychotropic purposes.
This trio of actors is fantastic. They make creature sounds of coos and clicking with limbs intertwined. Their nocturnal meetings fuel General Macbeth's (Mikha'el Amin) plotting and bloodthirsty pursuit of power. The Weird Sisters' machinations occur during a battle for Scotland before it became a part of the British Empire in the medieval era when William Wallace led bloody battles to preserve Scotland. Scenic designer Manuel Ortiz creates a gritty atmosphere full of blood, dirt, and dark woods. The entry to Macbeth's castle is complemented beautifully by lighting designer Hannah Ween in reds and velvety shadows.
The battle scenes are somewhat authentic, thanks to Violent Delights' fight choreography. The clanging of swords, hatchets, and a realistic-looking mace lend disconcerting metallic sounds, that sound as a battle should. My main issue is the dialogue and some of the choices made for the characters.
The cast speaks mostly in American accents, but Amin chose to affect a Scottish or British intonation that comes off as muddled. It sounds as if his words are being chewed and swallowed. That is a shame because his intensity and physicality as the king being driven mad are beautiful to watch. Amin did a star turn as a 3-card Monte hustler in Topdog/Underdog by Invictus in February of 2024.
Amin's physicality is riveting, especially his eyes, which seem filled with terror and bloodlust. However, the accent undercuts what could have been a fantastic performance. Shakespeare is not about the accent but the power of diaphragmatic breathing and projection. Those long soliloquies require herculean lung power, and Amin seemed to lose his breath in long sequences. Richard Burton may sound bombastic to some, but he could hold a soliloquy or extended phrase without flinching. There is a reason why some actors are considered Shakespearean, even without accents, such as the late James Earl Jones and, more recently, Denzel Washington in the 2021 film version of Macbeth.
Charlie Diaz is good in the role of Banquo before Macbeth's betrayal and stands out as the party crasher from hell. Diaz has a 10,000-mile stare as the deceased Banquo. Again, Wien's lighting creates the look of sooty oil lamps and torches. Carolyn Kruse has a fine turn as the scheming, power-hungry Lady Macbeth. It is funny and bone-chilling when she spins around on Macbeth and asks, "Are you a man?" Kruse plays the regal and stoic lady of the house and does a brilliant rendition of going mad. Kruse plays madness as if under a spell or perhaps having absorbed some of the witch's brew given to Macbeth in the woods.
The final scenes of The Tragedy of Macbeth are a mixed bag. On the one hand, Michael B. Woods plays the grief-stricken Macduff. His reaction to his family's murder is a study of physical acting. He looks like the wind was knocked out of him and does a dead drop to his knees. The battle between Macduff and Macbeth brims with heat and rage. Amin and Woods have intense eye contact, and the swordplay is excellent. Diego Longoria, as Malcolm, should have been more rousing in his speech to the warriors. Again, the beats and pacing sounded off, and Longoria was stiff instead of rousing in claiming his rightful place as king.
Overall, this production of The Tragedy of Macbeth is passable. It is not on the same level as other Invictus productions. I expected more from Vecchio as a director with such a vast resume of teaching and directing Shakespeare. It could get better over the run of the play, but it should have been sharp out of the gate. Macbeth is one of Shakespeare's better-known tragedies and needs a cohesive cast of actors playing to their strengths. There is not a lot of room to step outside the box.
Invictus Theatre Company's The Tragedy of Macbeth runs through December 16 at Windy City Playhouse, 3014 W. Irving Park Road. Running time is 2 hours and 40 minutes. Tickets are $38. For more information, please visit www.invictustheatreco.com.
For more information on this and other productions, see theatreinchicago.com.
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