By Walter Rutledge
For those of us that believe “Hell has no fury like a women scorned”. And for those of us who know firsthand you do not mess with a Black woman who “ain’t feeling it”. Leave your Elizabethan mindset at home and head to the Harvey Theater to experience MacBeth in Stride – Shakespeare from a sistah’s point of view. Written and performed by Obie- Award winner Whitney White the production takes Shakespeare and female empowerment to a new level. This soulful contemporary rendition of Shakespeare’s classic tragedy Macbeth runs for only five remaining performances through April 27 at the Harvey Theater located at 651 Futon Street in downtown Brooklyn.
Three diva witches, Holli Conway, Phoenix Best and Ciara Alyse Harris open the production. Their tight rapturous En Vogue harmonies immediately cast their spell on us as they invited us to share in this 17thcentury Shakespearean tragedy told from a 21st centuries black women’s point of view. Keyboardist/Music Director Nygel D. Robinson joins this bewitching trio, adding a strong tenor touch to the mix.
To coin an iconic Helen Reddy lyric White performance as Lady Macbeth is “I am women, hear me roar!” This force of nature is both a flawed and subjugated Elizabethan female and a Jasmine Crockett style feminist warrior. Fortunately for us her luminous performance threads that needle with no toil and trouble.
This fast-paced textural eighty plus-minute one act production takes on the role and place of women in Shakespeare’s world. A world where women were not permitted to perform in the productions or attend the performances. White takes it one step further adding a few new ingredients such as blackness, and queer and LGBTQ affirming ideology.
When we finally meet the King apparent, he is a sexy leather clad accordion playing rock and roller with the right amount of salt and vanilla. Charlie Thurston King of Scotland broods with Shakespearean darkness as he is manipulated into murdering King Duncan by Lady Macbeth. In a strange twist Lady Macbeth feels slighted that she is not the main character. In her mind the play should be called Lady Macbeth; about her not her husband, the King of Scotland.
Throughout the production the three witches continue to charm us. When they are not vocally raising the roof these Sirens act as story guides, narrators, backup singers and comic relief. They effectively were able to straddle the fence between observer and conspirator.
Choreographer Raja Feather Kelly provided the perfect subtle blend of dance and natural movement. His movement and staging enhanced but never overpowered or competed with the main action. And clever lighting by Jeanette Oi-Suk Yew effortlessly took us from the castle to the concert hall.
The music score is an infectious blend of soulful R&B, pop, rock and roll and theatrical fun. This eclectic but purposeful musical amalgam keeps the production spontaneous and engaging. The audience participation happened late in the show and pleasantly reminded me of a good digestif before desert, in this case the show’s finale.
The remaining performance dates are Tuesday April 22, Thursday April 24, Friday April 25, Saturday April 26 at 7:30pm and Sunday April 27 at 3pm. To more information and to reserve tickets visit www.tickets.bam.org.
