And nobody in all of Scotland is ever gonna bring her down. That’s the thesis, more or less, of Macbeth (An Undoing), a production from the Royal Lyceum Theatre Edinburgh now at Brooklyn’s Theater for a New Audience, that strives to do for Lady Macbeth (Nicole Cooper) what Wicked did for the Wicked Witch of the West. But Zinnie Harris’s play never defies gravity in its laborious quest to reimagine and center Lady Macbeth’s story.
Perhaps Harris hasn’t seen a decent production of Shakespeare’s Macbeth. The smart ones articulate without textual revision what Macbeth (An Undoing) goes to such unsubtle lengths to declaim: Lady Macbeth is the more powerful, ingenious, compelling character, and it’s her coolly competent ambition, not her husband’s, that motors this play. No argument there.
What especially bothers Harris isn’t the ferocity but the fragility in the original Lady Macbeth’s villainy,...
Perhaps Harris hasn’t seen a decent production of Shakespeare’s Macbeth. The smart ones articulate without textual revision what Macbeth (An Undoing) goes to such unsubtle lengths to declaim: Lady Macbeth is the more powerful, ingenious, compelling character, and it’s her coolly competent ambition, not her husband’s, that motors this play. No argument there.
What especially bothers Harris isn’t the ferocity but the fragility in the original Lady Macbeth’s villainy,...
- 4/12/2024
- by Dan Rubins
- Slant Magazine
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