Kabuki was first developed in the 17th century; around the same time, William Shakespeare was winning audiences with his tragedy about an ambitious Scottish Lord and his lady. Now both the Bard and Japanese popular drama share the stage in the world premiere "Kabuki Lady Macbeth," conceived and directed by Shozo Sato.
In adapting Shakespeare's "Macbeth" to focus more on the wife's plotting for greater power and prestige, Karen Sunde's script becomes a cautionary tale for both women and men who "overreach." The tragedy is now boiled down to a simple statement of yin and yang and the need to keep internal predispositions to be bold, gentle, delicate or brave in balance. We see that disturbing the alignment of dualities in individuals or partnerships leads to bloodshed, madness and other bad ends.
But what really makes "Kabuki Lady Macbeth" exciting is the novelty for American audiences in viewing this particular art form. This is not a typical Kabuki production. For instance, the emphasis on music and dance is downplayed here, and at two-and-a-half hours it is well short of a Kabuki show's length in Japan. But this hybrid, as Sato calls it, is a great introduction to the style.
As Lady Macbeth encourages her husband's ambition and evil intent through flirting, flinty scorn or passionate pleas, Barbara Robertson expresses it all to us with simple shifts in intonation or gesture. At times the purposeful rhythm of the actors' exchanges, or the highly stylized laughter and movement of Michael Goldberg's Macbeth and his wife prompt unintended mirth. But by the end of the evening we're drawn in to the drama, in spite of the at times painful-to-the-ear vocal phrasings, and thanks to the forceful charisma these central characters (and the show's three witches) bring to Chicago Shakespeare's small upstairs space.
Sato's production design, aided in great part by the movement and urgency added to the scenes by Michael Rourke's textured lighting, is stunning overall. Even when the screens in the scenic design do disappoint, there is always something else to captivate our eyes, from the stark makeup masks to the striking robes or wigs.
The story can seem slow or oversimplified at times, but the acting is excellent, and there is always something to feast our eyes or our imagination upon as we're given a neat and inventive introduction to Kabuki done American-style.
Chicago Shakespeare Theater; 800 E. Grand (Navy Pier); (312) 595-5600; $38-$48. Through May 1; 7:30 p.m. Tuesday-Friday; 1 p.m. (select days only) Wednesday; 2 p.m. and 7:30 p.m. Saturday; 2 p.m. Sunday
