Photos by Theresa Stroll

Something wicked this way comes

The #METOO movement arrived in the American lexicon in recent months and it has become a hot topic. How does it affect women being sexually harassed and the men who do the harassing but aren’t aware of doing it? That is what this production of Macbeth, the Shakespearian tragedy is based upon. The focus is intended to have Lady Macbeth become another statistic of female disempowerment. It’s hard to share sympathy with someone who killed Duncan, the King of Scotland. Yes, she did it for her man who was too sickly and cowardly to finish the job. The lady is more of a ride-or-die character than a victim of male supremacy. However, this is a very good story with a pleasant unexpected execution that works.
The Weird Sisters, or witches (wonderfully done by Kathy Deitch, Corinna McCoy and Josie Adams McCoy) impishly tease the stoic Macbeth (Brendan Weinhold was compelling to watch) that he will be the next King of Scotland. That’s all wifey (Cyanne McClairian is equally as mesmeric) had to know and begin shaping her vicious plan into action. Slaying the old king was the easy part; getting away with it is a different story. In the beginning, Macbeth was strong and in charge. By the end, he turned into a coward with a bright yellow streak running down his back. Lady Macbeth unapologetically shows off her bad-ass side by not only planning but executing her plan to murder Duncan and at the end becomes a fragile creature haunted by her malicious past. Macbeth hears loud cries and asks his henchman Satan, I mean Seyton, about the noise. He apathetically responds, “It’s women crying, my good lord.” Then it gets louder, and he responds in that irritating, indifferent tone “the queen is dead, my lord.”
Macbeth does lose it, but he keeps it inside. Now, he desperately wants to be king. The witches promised. This is where clarification comes in. The witches said, “No man that’s born of woman/Shall e’er have power upon thee.” Leave it to Macbeth who meets his end by “Macduff {…who} was from his mother’s womb/Untimely ripped.” Unlucky bastard. In the beginning, there are two sets of soldiers opening the show. One side men and other side women dueling to the death. The women aren’t soft punks. They are there to kill or correct a wrong, as some may interpret the action. The fierceness in their eyes and soul makes them dangerous. But is that a representation of the #METOO movement? I’m not sure. I do know that I would want them on my side when things get down and dirty.

MACBETH. HIS STORY. HER TRAGEDY. plays on Fridays (13th and 20th), Saturdays, (14th and 20th) at 8 p.m.; Sundays at 4 p.m. (22nd and 29th), at The McCadden Place Theatre, located at 1157 McCadden Place located in Los Angeles. For ticket, log on to For other information go to