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Shakespeare's Sequel to Macbeth Found In 'Dunsinane'

David Delgado |
April 1, 2015 | 4:08 p.m. PDT

Contributor

Darrell D’Silva as Siward (by KPO Photo)
Darrell D’Silva as Siward (by KPO Photo)
Are you a Shakespeare junkie? Know all of the plot lines? Get chills when the words “All the world is a stage” and “To be or not to be” are said? Ever wish for a more modern addition? Then "Dunsinane" is just the show for you. This sequel to Macbeth, written by David Greig, is playing at the Wallis Annenburg Center for the Performing Arts and is riveting audiences who are hungry for a continuation to one of Shakespeare’s most renown stories of human ambition and hunger for power. Keeping in the tradition of this dark, dramatic nature, this show promises death, modern parallels, war, and even a few laughs.

Beginning where Macbeth ends, we see Malcolm (Ewan Donald) and the English army completing the Battle of Dunsinane. It is believed that the war has been won, thanks to the struggle and death of Macbeth (and the death of nearly every character, for those who have forgotten) and Malcolm is now in a position to take his rightful position as the King of Scotland. This could have occurred if Lady Macbeth was not alive and still very much in the business of controlling men, and their kingdoms as the true ruler of Scotland.

Attempting to keep this transition peaceful, Lady Macbeth, now named Gruach (Siobhan Redmond), is cared for by the English army. This includes the general, Siward (Darrell D’Silva) the boy soldier (Tom Gill) and Scotish consultant, Macduff (Keith Fleming). Slowly there is a play on power between Gruach, the Queen of Scotland, and Siward because of the fact that she controls factions within the area and has a child from her relations with the King she and Macbeth killed, Duncan. With this new information, an even greater amount of confusion, murder, and politics is enabled thanks to the driving force of Macbeth and Dunsinane, Gruach (Siobhan Redmond).

On a nearly barren stage, a rock style anthem pierces through the quiet theatre to begin a performance that the audience did not know they signed up for. With constant plot twists and climaxes, the play is set up as episodes, which end at a major reveal and begin again in another place with a greatly comedic tone. The performance is largely guided by a small orchestra of talented soloists, the episodic nature of the libretto, and finally the chorus like role of the young soldier who constantly updates the story, this performance flows perfectly in time and energy.

SEE ALSO: Anteaus's 'Henry IV, Part I' Leaves Shakespeare Without A Leg To Stand On

The exceptional actors include Siward (Darrell D’Silva) and the Boy Soldier (Tom Gill). Darrell D'Silva grows from a strong and surefire general that marches with strong steps across the stage, but by the end of the performance he is limping, hunched, and on the tips of his toes with the emotional impact that his character has taken. Tom Gill opens the show and carries the audience through it with his lighthearted humor, boyish charm and keen state of awareness during all times. As a child soldier, the audience is able to see the excitement of a testosterone filled boy who later is in the same position but has knowledge of the world and those around him that he did not have before.

As a collective, these actors are led by Roxana Silbert’s directorial vision, which is both realistic and Shakespearean. What truly stands out is the modern relevance that is embedded in the writing. When compared, the English army can be seen as the U.S., and Scotland as the Middle East. We hope for world peace but our “peace is just another word for [our] winning”. The power of these leading and supporting men, as well as the themes, create a degree of energy that is sometimes dropped by Grauch (Siobhan Redmond).

Lady Macbeth is arguably one of the most powerful and interesting characters written by Shakespeare and with this complexity and power, the skeleton must be filled with a mystified strength that erupts when needed but becomes dormant when in waiting. This quality is what is missing in the obviously devoted performance of Siobhan Redmond. During poignant moments where her character takes charge, or screams in complete exhaustion, her voice and body seem to be lacking a grounded vigor which someone as cunning as Gruach requires. During bows, Siobhan Redmond seemed obviously depleted having givin it her all, but during the agonizing moments of her character, the energy drops.

SEE ALSO: Something Wicked This Way Comes: 'Macbeth' At The Edgemar Center

None of this work would be seen in its full extent if it were not for the beautiful work of the scenic designer Robert Innes Hopkins and lighting designer Chahine Yavroyan. The combination of simplicity and beauty that these two accomplished is simply amazing. What was once simply a staircase becomes the tremendous hills of Scotland, and then when winter comes the flurry of snow makes this theatre space seem to be in a television. The combination of lights, set and costume make this a visually breath-taking show, keeping it truthful, yet striking.

As a lover of Shakespeare, this show allows one last look into the story of Macbeth. As a hater of Shakespeare, this show allows one modern perspective into his story with an understandable language. As a critic, this show allows for a memorable night out as it gets right down to what theatre should always be: truthful, resonating, and beautiful.

"Dunsinane" is playing through April 5 at the Wallis Annenburg Center for the Performing Arts (9390 N. Santa Monica BLVD, Beverly Hills). Tickets are $29-$110. For more information visit www.TheWallis.org.

Contact Contributor David Delgado here.

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