‘Macbeth’

On my seeing "Macbeth" at the CCP Little Theater last weekend, lines learned in school came rushing to mind: "Tomorrow and tomorrow and tomorrow / A tale told by an idiot, full of sound and fury, signifying nothing / Is this a dagger which I see before me, the handle toward my hand? Come, let me touch thee, I have thee not yet I see thee still."

I missed "Out damned spot!" from Lady Macbeth’s sleep-walking scene, which missing line indirectly indicated that the drama was simplified, condensed and modified considerably to suit a mobile company. The witches went through a transformation, to begin with. Further, there was a visibly reduced cast, with no extras in a banquet scene or royal retainers to convey pomp and circumstance.

But to paraphrase Hamlet, The play was still the thing. Its soul, its raw elemental passions – vaulting ambition, greed, lust for power, jealousy, desire for revenge – all these remained in their powerful essence to compel attention.

Each cast member was immensely skilled not only in projecting character but also in relating to the others in the absorbing tragedy. Looming large was Lewis Howden as Macbeth. Soaked in blood after murdering the King, he was utterly terrified and utterly terrifying. Intense, truly haute voltage was the sleep-walking scene created by Pauline Knowles as Lady Macbeth, the temperamental but totally loyal partner-in-crime of her husband. In speech and action, she was for her part utterly wrenched and utterly wrenching.

Tears glistened in the eyes of the brilliant Ian Greve (Macduff) as he magnificently delivered his lines near the close of the play; Jay Manley (Malcolm) demonstrated his own individual talent without any apparent effort. There was Isabela Jarrett (Lady Macduff), her phrasing clear, elegant and unaffected.

As for the rest of the cast, Peter D’Souza (the King), Greg Powrie (Banquo) and Chloe Lang (Child) were each a vital character, contributing his/her share to rendering the drama vivid and riveting. Whether in declamation or soliloquy, the principal actors exhibited balance, pacing, rhythm and subtle cadences.

In an attempt to further Phil-Scottish theater relations, the young Filipino actor Abner Delima, Jr. was given a non-speaking role as the other child.

Now for the physical aspects of the play. The space allotted to the actors was consistently limited to the front part of the stage, thus intensifying the progress of the plot (too well-known to bear repeating here).The infinite variety of auditory effects – from the puling of the baby, to those accompanying or preceding entrances and exits, to the alarums of war – were emphatic and eloquent expressions underlying action.

The lighting design was no less suggestive of the foulest mood and ambiance. The play opened on a dark stage, on a misty afternoon before sundown. As night fell, torches were lighted and the eeriness that had set in continued to grow to the very end, an eeriness created by a stage alternately in semi-darkness or hidden in the shadows as ghosts walked about. Each player arrested attention, enfolded as he/she was in light while he/she spoke in commanding voice and diction.

The lack of props save for a black curtain gleaming ominously in the sparse light, and swords dangling from above to suggest murder and revenge, heightened the ongoing conflict, both internal and external.

As in any Shakespearean tragedy, the drama ended with the stage strewn with corpses as the wildly applauding audience went through a catharsis after the wrenching experience.

Presented by Scotland’s Theatre Babel "Macbeth" is part of the ongoing Shakespeare Festival marking the 25th year of the British Council now headed by Jill Westaway. The director of "Macbeth", whose name does not appear in the program, should be highly commended for bringing to us, from halfway ‘round the world, an excellent ensemble. Special opening night guests were British Ambassador Peter and Jill Beckingham.

Theatre Etiquette

The following ten commandments of theatre etiquette, adapted by Repertory Philippines from Bryon Belt, are likewise applicable to music and dance presentations. Thou Shalt Not

Talk. The first and greatest commandment. The people around you come to listen to the actors onstage, not to your travails about politics, the economy or the horrible traffic you just went through.

Hum, Sing or Tap Fingers or Feet. Even if this is your favorite musical and you know the lyrics by heart, or the song is so wonderful you feel you have to help the musicians keep time by tapping your feet or fingers, DON’T.

Rustle thy program. Restless readers and page skimmers aren’t good listeners and viewers, and greatly distract those around them. Save that interesting write-up on your favorite actor for the intermission.

Chew gum. The sight of otherwise elegant ladies and gentlemen chewing their cud is one of today’s most revolting and anti-aesthetic experiences. Besides, it promotes tooth decay.

Wear loud-ticking watches or jangle thy jewelry. Owners are usually immune, but the added percussion is disturbing to all. And this includes pagers and cellular phones known to humanity at hand.

Open cellophane-covered candies. Next to talking, this is the most serious offense to the theatre peace. If you have a bad throat, unwrap your throat soothers between acts or musical numbers.

Snap open and close thy purse. This problem used to apply only to women, but today men are equal offenders.

Sigh with boredom. If you are in agony, keep it to yourself. Your neighbor just may be in ecstasy which should also be kept in quiet control

Read. This is less than an antisocial sin than a personal deprivation. In theatres, it is generally too dark to read, but there are those who try to. DON’T. Leave "War and Peace" at home.

Arrive late or leave early. It is unfair to the artists and the public to demand special seating when one is late, or fuss, apply make-up and depart early.