As of this writing,all but two performances of Off the Wall Theatre’s Macbeth have sold out. This epic tragedy, possibly Shakespeare’smost popular play, personally connects to Off the Wall audiences in aproduction that is designed to amplify the space’s intimacy. Director DaleGutzman’s contemporary, militaristic production design adds an interestingtouch, but his over-rendered sound design detracts from the drama, withcinematic scoring that often clashes with the performance.
Jeremy Welter(making his first onstage appearance in a gas mask) is at his best in the titlerole when Macbeth begins to lose his grip on reality. It’s a portrayal thatrecalls his performance as Hamlet in a recent Off the Wall production.Gutzman’s instincts as producer and director help certain moments shine. Amemorable, stylish appearance by Lisa Golda as one of the witches is among theelements that make the show worth seeing.
By contrast, CarteBlanche Studios’ Much Ado About Nothing ismuch more traditional. Tastefully classical elements like Elizabethan costumingand set design complement a well-executed performance by nearly the entireensemble.
This show by CarteBlanche director Jimmy Dragolovich is less ambitious than Gutzman’s Macbeth, but ultimately it’s moresatisfying because he makes the acting interesting. Jordan Gwiazdowski portraysan awkwardly vain, comically vulnerable Benedick destined to fall in love withthe stunning, charming Beatrice (Emily Craig). Dragolovich has worked with mostof the ensemble for several recent shows, and they have developed a rapportthat is brimming with vitality. Notable performances from the edges of thescript include Michael Keiley as a high-energy, humorous Dogberry and thebrilliant, physical comedic instincts of Liz Whitford as Margaret.
Carte BlancheStudios’ Much Ado About Nothing andOff the Wall Theatre’s Macbeth runthrough March 7.
