‘Clown Macbeth’ & ‘Acting Human’

Clown Macbeth

Clown MacbethWhenever someone tackles this play, there are two starting points: to what extent is Macbeth a leader and a pawn in his own destruction, and how much of that responsibility lies with his wife.

In this condensed and non-verbal hour, it takes the term ‘pawn’ to a whole new level. Macbeth, an expressionless being, works his way through the masks of people he is to kill and embody, all for the sake of a kingdom. He is more doll than person, shuffling his way through the motions of usurpation to canned applause and laughter.

Meanwhile, Lady Macbeth (Riko Sugama) plays a more troubled role, incorporating emotionally driven Okinawan dance not only into her posture and physicality, but through her moments of turmoil as the weight of what she has asked of herself (and Macbeth) sinks in.

The simplicity and minimalism of the show worked to its advantage, however, I wonder if it had missed a trick. While evidently Makoto Inoue‘s show would have him playing Macbeth, not least with plenty an award under his belt in mime, I can’t help but feel Lady Macbeth’s role was underrated. Only at the end do the hanging pieces of red cloth become Macbeth’s strings, tied and controlled by the ghost of Lady Macbeth. Perhaps it was his own interpretation, but her moments of pain onstage were breathtaking to watch, that it would have been fascinating to have seen Lady Macbeth pull more of the strings – literally and figuratively.

Clown Macbeth‘ at +2, C Venues


Acting Human: Live Life Alive

The talk this should have been, and the talk it was, were not the same. I could talk about how I’d actually misread the blurb as applying mindfulness (a concept dated eons ago, but America thinks they just discovered it) to an actor’s craft, rather than what it said: applying mindfulness featured in the craft to everyday life. I could talk about the heat of the venue. Or the calmness the woman created when she spoke, and what she spoke about which was all very interesting

But I don’t want to. Instead, I want to talk about something that I’m still not sure about the reality of. Richard Dubin, the man who should’ve been there, but apparently chickened out. A man who’s show talks about being in the moment, awareness, and awareness of your own awareness, but couldn’t face a typical Fringe-crown: the empty seaters. The reason I say apparently is because with the annual event of a near-seventy year old Festival, you can’t always be certain that everything is as it seems. Dubin has a wee bit of a television career in the states, possibly with an Emmy to match, and according to his stand in, he’s a chair filler. The prospect of that not happening doesn’t factor into his line of thought.

I want this to be true, because I think it’s hilarious. I also think that is the show from here on out, instead of simply working through his seminar and briefly covering it. If I were the stand in, he would be the topic.

Acting Human: Live Life Alive‘, Mint Studio, Greenside at Infirmary Street

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