The short of it: I recommend the Shakespeare in the Parking Lot Macbeth because especially after a long, lonely summer, the chance to see live theatre of Kentucky Shakes’ caliber from the safety of your vehicle is absolutely too good to miss out on. A perfect socially-distanced Halloween outing the whole family can participate in together.
The long of it:
Initially, I had some reservations about Brian Hinds’ Macbeth during the first appearance of the Weird Sisters – is this a Macbeth who would really stoop to murder for the crown? But that fear morphed into awe and terror under the pressure of Jennifer Pennington’s Lady Macbeth and Macbeth’s bloody regret in the wake of killing Duncan. The scene when Lady Macbeth appears, wild with distress, to warn Lady Macduff was a delightful surprise, as Angelica Santiago’s anguished performance cradling Macduff’s newborn followed by Macbeth’s runaway revenge is even more impressive as Lady Macduff is only one of five roles she plays in this production, all of them distinct in their own rights.
The production’s quick pace helped sell the transformation, as the cuts to make it a 65 minute run are exacting, ditching parts like the porter’s scene and condensing transitions into short Scotland Underground Radio voiceovers to create a pace that adds to the frantic urgency the characters also build toward without sacrificing clarity. Although I’ve seen Macbeth many times, this production is friendly to newcomers even by Kentucky Shakes’ high standards for making Shakespeare accessible.
In terms of making the production relatable to the particular audience of the moment, the Scotland Underground Radio pre-show radio was the highlight. The well-chosen music mix and Gregory Maupin’s intermittent updates on the record-breaking toxic air quality requiring listeners to stay in their cars, windows rolled up – turning COVID safety measures into added immersion – had me on the edge of my seat with anticipation even before the play began. However, outside of the masked witches and murderers (whose concealed faces helped differentiate roles played by the same actor) no named character does much to cope with the toxic atmosphere.
Some might argue, as my father invariably does every summer, that Shakespeare productions never need to be dressed up in other times or imaginings; at the least, it should add to, not distract from the text. But especially after last year’s production of As You Like It that brought bluegrass to the Bard and the gory, modern goth Halloween 2015 run of Titus Andronicus proved that Kentucky Shakespeare can do it, even if this production doesn’t soar quite as high as the ones just mentioned.
Ultimately, of the things I found lacking in this production, I don’t really have solutions for. The constraints of a theater in the round viewed from vehicles below while meeting pandemic safety guidelines after an uncertain summer gave way to an uncertain fall are not at all comparable to the long-term planning and regular execution of a summer season. The stage itself and minimal set dressing required gives fewer opportunities to play up the apocalyptic Halloween mood, and facial coverings would have imposed even more limits on the actors’ ability to communicate their characters. The combination of costume design from Donna Lawrence-Downs, Laura Ellis’ sound design and the lighting and scenic design from Jesse AlFord and Karl Anderson work to create a hazy, atmospheric environment mixing modern and vaguely medieval gear that absolutely delivers on spooky Halloween spirit.
Overall, the Shakespeare in the Parking Lot production of Macbeth is a creepy pandemic treat you shouldn’t miss. I watched it and left Joe Creason Park full of the joy only live theater can bring, but wanting a version more grounded in the truly immersive fiction it teased. Maybe there’s a lesson to be learned from Macbeth about not getting greedy, but hey, asking for more turned out okay for Banquo, right? At any rate, I’m looking forward to what Kentucky Shakes will make next, as this is evidence that you can bring wonderful, meaningful theater to your community, even now.
the Louisville Renaissance Project 