MacBeth | Tina Packer Playhouse
MacBeth
Written by William Shakespeare; adapted by Melia Bensussen
Produced by Shakespeare and Company at the Tina Packer Playhouse
Directed by Melia Bensussen
Scenic Design by Christina Todesco
Lighting Design by Daniel J. Kotlowitz
Costume Design by Olivera Gajic
Sound Design by Brendan F Doyle
Images Courtesy of Daniel Rader
This excerpt is from a recording of a preview performance of MacBeth in June 2018. The selection contains the nightmare sequence: MacBeth has gone to seek answers from Hecate, that ethereal force that has whispered powerful futures in his ear and set him down his current path of violence and betrayal. As he conjures the spirit, the ghosts of Duncan and Banquo appear, joining Hecate’s dark ritual. The specter of MacDuff calls a challenge, and MacBeth is surrounded by the sounds of his violent deeds. Disembodied voices sing nursery rhymes, textural pads swell, and pulsating tones swirl around MacBeth during this foretelling, until a messenger breaks him from the reverie, with news that MacDuff has fled to England.
Banquo and MacBeth relax after their latest victory
Production Overview
This production of MacBeth was an adaptation written and directed by Melia Bensussen, focusing on the internal hauntings of the characters. The set was dominated by a tall glass wall that dripped with clean water as the play began, but was coursing with blood by the final scene. Hecate, as the lone onstage representation of the supernatural forces at work, drifted about the thrust configuration and through the seats as her voice echoed around the venue. Whistling was featured to mimic the sounds of birds, recall the melody of a child’s nursery rhyme, and as an eerie descant to herald the forces of the supernatural.
Design Concept
Using the central idea of personal madness as the driving force of the sound design, natural sounds were taken out of their normal context, modulated, and juxtaposed between live and pre-recorded versions to help provide a sense of unease and disorientation. This encouraged me to take a more non traditional approach to some of the simpler sounds; for example the ringing of the bells after King Duncan is found dead is based on a recording of the prop goblets used onstage being struck together. This theme was continued as recordings of the prop goblets filled with water helped distort the bell as it rings for the death of King MacBeth.
His Queen looks on as MacBeth faces his demons
Lady MacBeth sleepwalking in a nightmare, as the doctor and a servant look on helplessly
Microphone Usage
In addition to a wireless microphone used for vocal processing on our ethereal Hecate, several microphones were arrayed throughout the theatre for various applications. Some of the microphones were used to add reverberant effects to lines of dialogue, others were placed around the scaffolding that held up the acting bridge so stage combat sequences could be punctuated with the ringing of steel. Additionally, a contact microphone was installed on the stage floor; this was used to pick up the pounding of quarterstaffs and allowed for live processing of the signal, letting that one rhythmic action make a sound effect like a subtle heartbeat or an army marching to war.