XL •i^ii MACBETH by William Shakespeare Adapted and Directed By DONALD SOULE Setting & Lighting By RICHARD KENT WILCOX Costumes By DAVID L. LOVETT CAST Macbeth RAYMOND CLARKE Lady Macbeth JANET WRIGHT* Duncan MICHAEL GREEN Malcolm LORNE KENNEDY Macduff MATTHEW WALKER Banquo KENNETH RYAN Witches VICKI BUCKWOLD, DONNA CHRISTIE, PAT DOLLARD, WENDY FALCONER, MICHELLE FISK, SUSAN JONES, ANGELA KAIJA, JENNIFER MARDOCK, ANN MCQUEEN Ross NICHOLAS RICE Lennox RODGER BARTON Lady Macduff SUSAN JONES Her Son ALISTAIR MARTIN-SMITH First Lord PHILIP CHEVELDAYOFF Second Lord WARREN LARSON Seyton COLIN THOMAS First Murderer DON GRIFFITHS Second Murderer HUGH MCLEAN Fleance JON LOPTSON Other Murderers FRED GALLOWAY, BOB CAREY, DAVE VALDES GEORGE GRANT, TERAN SYNGE, ALISTAIR MARTIN-SMITH 'Appearing by permission of Actors' Equity Association PRODUCTION STAFF Technical Director and Production Stage Manager MATT YOUNG Associate Technical Director IAN PRATT Costume Execution GERALDINE RICHARDSON LILIANE JOHNSON Lighting Execution RICHARD FAHLMAN Stage Carpenters RICHARD SPENCER WAYNE FIPKE MIKE MCQUEEN JAN POLLAK Properties SHERRY DARCUS NANCY O'CONNOR Stage Manager GORDON A. LONG Design Assistant STEPHEN GEAGHAN Assistant Directors GAIL WYNSTON, NEILL DIXON, GORDON PECK CARMELA SABATINO, FRED GALLOWAY, KENNETH RYAN MATTHEW WALKER Film By BILL ROXBOROUGH Camera CHRIS GALLAGHER Stage Crew STUDENTS OF THEATRE 350 Publicity Assistant DAVID GAUTHIER House Manager RICHARD JAMES Box Office VICKI BRUNO JUDY DALLAS MAUREEN SHEERIN Business Manager MARJORIE FORDHAM Production JOHN BROCKINGTON ABOUT THIS PRODUCTION OF MACBETH This production is both a response to the play and an exploration of the theatre. Macbeth is a very great and dangerous play: great enough to survive any production and dangerous enough to threaten any of us who dares to enter it. But a play — even a masterpiece — is not a sacred cow. Macbeth was written to create a living experience in a particular set of theatrical conditions. Any production of it will therefore be a complex interaction of the play, the theatre, the performers and the audience. Not one of these elements will emerge from this interaction unchanged or unscathed. The play and the stage have been adapted to each other. In the play, "offstage" events have been brought to physical life; some scenes have been telescoped and shifted; certain aspects of the man-woman relationship and the whole interaction of violence, responsibility and identity in the original text have been explored and developed further. The stage has been reconstructed to allow the audience to enter the play not only imaginatively but physically and spatially. Primarily, then, this production is an exploration of Macbeth as both a dramatic and a theatrical action: an action of living persons — both real and imaginary but always physical — moving and interacting in a dynamic space. Some may object to the seeming emphasis on violence in the production. Macbeth, however, is about violence and its effects on those who use it — directly or indirectly. Ultimately, this violence implicates us all. If we are shocked by it today, perhaps it is because we have become anaesthetized: by the narcotic habit of regarding Shakespearean plays as comfortable classics and by the hypnosis of today's electronic and filmic fantasies of abstracted violence. But Macbeth, like life, is neither comfortable nor abstract. To confront the reality of either is dangerous. COMING EVENTS March 7-10 ALICE IN WONDERLAND Created by The Manhattan Project an M.A. Thesis Production Directed By Allan Gray Somerset Studio — Frederic Wood Theatre MACBETH The University of British Columbia March 2 - 17, 1973
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Macbeth Mar 2, 1973
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