“Double, Double, Toil, and Trouble:” Vigilance Theater Group’s ‘Mac Beth’ Is Equal Parts Shakespeare and Brat Summer

Shakespeare’s Macbeth tells the tragic story of Macbeth, a general who receives a prophecy from three witches that he will be the King of Scotland one day. Persuaded heavily by his wife, Lady Macbeth, he kills the King of Scotland and usurps the throne. Macbeth becomes riddled with guilt and paranoia, prompting a reign of violence and tyranny. The play has been performed and adapted for centuries, including numerous film adaptations in multiple languages. 

Each adaptation has taken on its nuance, with writer Erica Schmidt‘s version being no exception. Directed by Ingrid Sonnichsen, Vigilance Theater Group presents their interpretation of Schmidt’s Mac Beth. Performed at Washington’s Landing, Mac Beth begins as we meet seven girls who convene in an abandoned park after school to act out their version of Macbeth. Two girls are seated and reading as their friends join them while blasting Megan Thee Stallion’s “Mamushi.”Audiences may have never considered combining Shakespeare and Megan Thee Stallion, but believe me, it works. And it sets the tone for the rest of the play. The girls begin to unwind and unpack their supply of alcohol, all while documenting their fun with selfies and videos. 

As the girls begin their reenactment of Macbeth, they each assume their role and dive into a world of Elizabethan English, monologues, and dramatics. Mal MacKenzie is an intense, verbose Macbeth from start to finish. Accompanied by Sarah Dugan as his wife, Lady Macbeth, the two cheat, deceive, and connive for their benefit and ultimate demise. The three witches, Bradleigh Bell, Lulu James, and Marisa Postava, are sassy, confident, and convincing. Both friend and foe to Macbeth, Banquo (Kendall Mason) aids in the slaying of the King. The heroic main antagonist, Macduff (Veta Piscitella), is a late-comer to the party but steals the show as a dynamic, verbose foil to Macbeth. 

Sonnichsen and all seven girls overcame several obstacles in this production. The first is sound. The performers do not use microphones; they all project against the nearby traffic on Route 28 and the 40th Street Bridge. They also use the park’s natural terrain as their set and maneuver around rocks, trees, and uneven land. Besides a few handheld props (alcohol bottles, cell phones, crowns, and weapons), only a simple black barricade provides a set piece that is not native to nature. There is not even a traditional “off-stage.”

This openness and vulnerability create two plays within one production of Macbeth. Of course, in the traditional story of Macbeth, the actresses execute with professionalism and poise. Their character acting, although not traditional, is modern and nuanced in a way that highlights the timeless themes of Macbeth. It also shows that Shakespeare’s words and characters are still incredibly relevant today. 

The second storyline that runs through Mac Beth is the relationship between the seven school girls. They immerse themselves in the play, calling forth the themes of corruption, greed, power, and deceit into their lives. The girls’ social relationships play out while the characters are “off stage” but still fully visible to the audience. This unique dynamic intensifies the drama and action in the Shakespearean tale. The girls’ interactions also provide a critique of social behavior in our current historical moment. They use their cell phones to record their actions and to watch videos of others’ peril. The ethical ramifications of this modern voyeurism, where everyone is an eye-witness and vigilante, have been heavily debated. Mac Beth certainly makes an argument for the dangers of such behavior.

All seven girls convey teenage angst, jealousy, and insecurity to perfection. There is something poignantly relatable to watching a group of teens swig cheap alcohol in a park while performing a DIY version of Macbeth – we’ve all been there in one way or another (except mine was Flagstaff Hill and the musical Rent). The actors’ attitudes beautifully complement the drama of Shakespeare’s original work, making Macbeth feel edgy, fresh, funny, and witty without compromising the original tragic nature of the piece. The seven actors also deserve immense praise for remaining in character for the full 90-minute production. There is no “off stage.” They did not take a break. They did not catch their breath or have a moment of reprieve between scenes. The seven ladies execute this demanding pace with precision, professionalism, and, above all – attitude. Even though Macbeth and his followers are deeply flawed and Mac Beth exposes the darkness of modern social relationships, the ensemble is effortlessly cool. Mac Beth is the refreshing take on Shakespeare you didn’t know you needed. As a “Brat” flag triumphantly flies near the end of the play, it becomes clear that Vigilance Theater’s Mac Beth is the kickoff to Brat Summer 2.0.