When Shakespeare Goes Cinema:

A Night with Macbeth at the Crossroads of Traditional and Modern

There’s something deliciously ironic about preparing to watch “The Scottish Play” through a screen. Armed with Marjorie Garber’s scholarly insights and Paul Cantor’s lectures queued on YouTube, I found myself straddling centuries – one foot in traditional academic preparation, the other in digital-age convenience. But nothing could have prepared me for the way that the filmed live Max Webster-directed production at London’s  Donmar Warehouse; starring David Tennant and Cush Jumbo; would dissolve that careful distance between viewer and viewed.

The Seduction of Simplicity

In an era where productions often compete to outdo each other with elaborate sets and costumes, this Macbeth takes a boldly minimalist approach. The stark staging serves not as a constraint but as a canvas, allowing the raw power of Shakespeare’s language and the actors’ craft to paint vivid pictures in our minds. It’s a reminder that sometimes, less is more – especially with performers of exceptional caliber commanding the space.

The Intimacy of Technology

Things get interesting with the production’s use of binaural sound technology and the theater’s 5.1 surround sound transformed what could have been a mere filming of a stage play into something more visceral. Every whispered plotting, every sharp intake of breath, every moment of hesitation becomes startlingly intimate. This is psychological cinema at its finest. Using modern technology to achieve what Shakespeare himself must have dreamed of – the ability to place the audience not just in front of the action, but inside of it. Macbeth’s eye contact with the viewer is both thrilling and chilling.

Gender, Power, and the Space Between Desire and Action

At the heart of the play is an exploration of gender dynamics that feels startlingly relevant to contemporary discussions. Lady Macbeth emerges not simply as an ambitious woman, but as a complex figure trapped in a society that offers her “no chance of independent action and heroic achievement.” Her transformation of nouns into verbs – turning the Weird Sisters’ prophecies into calls for action – speaks to a deeper truth about power and agency.

The production masterfully highlights how Lady Macbeth’s infamous “unsex me here” speech resonates with modern conversations about gender constraints. Her willingness to “dash out the brains” of her nursing infant becomes not just an act of horror, but a violent rejection of prescribed feminine roles. In Jumbo’s portrayal, we see a woman who has internalized the brutal logic of a masculine world, turning it back on itself with devastating effect.

The Question of Responsibility

Perhaps the most unsettling aspect of this production is how it implicates its audience. Through the immersive sound design and intimate camera work, we become less spectators and more accomplices. Each choice, each action, each consequence feels personal in a way that traditional staging rarely achieves. The production asks us, in our era of influence and manipulation, whether we are ever truly responsible for our actions – a question that echoes far beyond the theater walls.

A New Kind of Shakespeare Experience

What makes this production remarkable is not just its technical achievements or stellar performances, but how it manages to honor both theatrical tradition and contemporary sensibilities. It’ is Shakespeare for our time: psychologically acute, technologically sophisticated, yet deeply rooted in the timeless power of language and performance.

For those planning to view the film: Yes, do your homework. Garber will guide you through the text and Cantor illuminates the themes. But, be prepared to have all that careful preparation wonderfully undermined by a production that refuses to let you remain a distant spectator. In bridging the gap between stage and screen, between past and present, this Macbeth creates something entirely new – and utterly compelling.

For optimal viewing, resist the urge to maintain analytical distance. This is one production where surrender yields the richest rewards. To whet your appetite take a little tour.

Celebrating Felix Mendelssohn

On His 212th Birthday

Felix Mendessohn (Febryart 3, 1809 – November 4, 1847 (Photo in Public Domain)

Songs Without Words, A Midsummer Night’s Dream, the Italian Symphony, The Hebrides Overture, The oratorio  St. Paul, The Scottish Symphony are among some of Felix Mendelssohn’s most famous compositions.  He was born 212 years ago, on February 3, 1809. If someone were to ask me to list my favorite composers and my favorite compositions, Jakob Ludwig Felix Mendelssohn Bartholdy (AKA Felix Mendelsohn) would be my top three with his Songs Without Words as my favorite of his.

Born to a Jewish family in Germany, Mendelsohn was a child prodigy, much like Mozart had been 53 years earlier. Felix Mendelssohn was a composer, pianist, organist and conductor of the early Romantic period. His family converted from Judaism to Protestantism before his birth. The Mendelsohn family was in banking and left Hamburg in disguise in fear of French reprisal for the Mendelssohn bank‘s role in breaking Napoleon‘s Continental System blockade. While they moved to Berlin and  lived there as Christians, antisemitic sentiment clouded his virtuosity. It was not until  almost the mid-20th century that his music was reevaluated and finally appreciated.

Manuscript (PC: In Public Domain)

Schumann wrote of Mendelssohn that he was “the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. In 2009, the BBC Press wrote,  “Felix Mendelssohn has today been crowned the greatest child prodigy of all time by a selection of 16 of the country’s leading classical music critics.” 

When Felix was 12, he met the then over 70-year-old Johann Wolfgang von Goethe. Not one to be easily impressed, he declared “… but what your pupil already accomplishes, bears the same relation to the Mozart of that time that the cultivated talk of a grown-up person bears to the prattle of a child.” (Todd, R. Larry (2003). Mendelssohn – A Life in Music. Oxford; New York: Oxford University Press). Mendelssohn set a number of Goethe’s poems to music.

Felix Mendelssohn (PC: In the Public Domain)

I remember vividly my first time hearing Mendelssohn’s Italian Symphony. I was spellbound and wanted to hear and rehear every note.My conscious awakened. Thereafter, I sought out his music at every opportunity. I discovered his music to A Midsummer Night’s Dream which took my breath away (until the over-played “Wedding March”). What a shame that the “Wedding March” has become cliché. Is it the desire for the “magic” or a couple’s lack of creativity in selecting wedding music? Aside from his awe-inspiring compositions, he was a prolific artist.

The musicologist Greg Vitercik considers that, while “Mendelssohn’s music only rarely aspires to provoke”, the stylistic innovations evident from his earliest works solve some of the contradictions between classical forms and the sentiments of Romanticism. 

Perhaps it is Mendelssohn’s non-provocative conciliatory style that gives the listener space to hear and appreciate.

Like so many musical geniuses, Mendelssohn did not live to be 40. He died of several strokes at 38. In his short life, he created some of the most beautiful and poignant music that touches the core of one’s heart.