Last week Saturday, I had the chance to check out the play Macbeth Reflected. The play was a shortened version of the original Shakespeare piece. It was adapted and directed by Thomas Morgan Jones. Macbeth has been one of my favourite Shakespearean plays for its depiction of immorality and corruption. To me, Lady Macbeth is the driving force of the play… She is conniving, ruthless, ambitious and it is she, who helps Macbeth with his murderous plots. When I noticed that Macbeth Reflected was showcasing more of their relationship, I was curious to see how. After the play, Thomas Morgan Jones answered a few of my questions. Here is what transpired…
HM: In the program, it’s presented that the play was a way to explore Lady Macbeth’s character. The play accomplishes this; however, some of her key lines are not part of this adaption. I wanted to hear more from her. Could you explain how you chose the dialogue to be part of this shorten version of the play?
TMJ: ORIGINALLY HER FAMOUS FINAL MONOLOGUE WAS USED IN THE SCRIPT, BUT THROUGHOUT THE PROCESS OF CREATING THE PRODUCTION WE ALL FOUND TOGETHER THAT IT WAS NOT IN KEEPING WITH WHERE THE ACTION OF THE ADAPTATION WAS TAKING US. WE DECIDED TO SEE WHAT WOULD HAPPEN IF WE CREATED A SILENT SCENE TO EXPLORE THE CORE OF THE MISSING TEXT.
HM: I must say that I found myself a bit confused in terms of knowing where this couple comes from. I know they are more contemporary, given their attire, the “parties” they host and the music heard in the background. We hear the chants in the background yet we do not know where Macbeth’s “fame” comes from. Was this ambiguity in time and location purposeful?
TMJ: SOMEWHAT. THE SOUND CUE IN THE DARKNESS BEFORE THE LIGHTS REVEAL JOHN NG (MACBETH) REPRESENTED THE WAR THAT HE WAS A PART OF, AND THE CHANTING THE CELEBRATION OF HIS VICTORIES. REVEALING JOHN, AS MACBETH, IN CONTEMPORARY CLOTHING FOLLOWING THE SOUNDS OF MODERN WARFARE WAS MEANT TO INDICATE THE CONTEMPORARY SETTING.
HM: What stood out for me was the use of a mirrored set a long with the canvas in the background and the use of light to represent the many moods the couple experience, as well as, the presence of other entities in the play. Whose choice was it to use mirrors? Who chose red and black as the main colours to set the appropriate mood?
TMJ: IT WAS AN IDEA THAT CAME JOINTLY FROM THE DIRECTOR, KELLY WOLF (THE SET AND COSTUME DESIGNER), AND DAVID DEGROW (THE LIGHTING DESIGNER). EACH OF THESE CHOICES (THE MIRRORS AND THE RED) CAME FROM OUR EXAMINATION OF THE TEXT AND WERE INSPIRED BY THE DIRECTION OF THE ADAPTATION. THE FOCUS WAS ON HOW THE MACBETHS SEE THEMSELVES THROUGH THEIR REFLECTIONS IN EACH OTHER, WHICH CHANGES AS THEY SEE THEMSELVES DIFFERENTLY THROUGHOUT THE PLAY IN THE ACTUAL MIRRORS ON STAGE.
Overall, I think it important to look at the Macbeth’s relationship in depth. This is a good start but I wanted to see more. Macbeth Reflected has potential. John Ng and Mary Ashton as the Macbeths were believable in their individual parts but I would like to see more “fire” from their performances but good efforts given the text. The play’s ending seemed to come rather abruptly, for me. I did not want the exact ending as in the original play but perhaps I wanted to know more of how their relationship disintegrated. Do not get me wrong, here. I liked the concept very much. The lighting and set design by David DeGrow and Kelly Wolf, respectively, were outstanding. I was quite impressed by all the moods and settings they conveyed within forty-five minutes.
A shout out to Thomas Morgan Jones and the rest of team. I’m looking forward to seeing more from Theatre Roy Jones.
Photo Credit: Theatre Roy Jones.
