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UBC Publications

Macbeth Mar 2, 1973

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 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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