"On a stage beside a stream, Director Lesley Shisgall [sic] Currier has successfully guided a large cast of talented local actors through the story of a rising political star who is goaded by his wife into killing his competition.
Husband-wife team Alexandra Matthew and William Elsman provide an interpersonal dynamic that is crucial to the success of this production. Alexandra is intensely focused on goading Macbeth into his violence.
She is a solid pressure on him to stop vacillating and screw his “courage to the sticking point.” William’s transition from uncertainty to determination is a blossom vigorously opening….
Supporting feudal lord characters Darren Bridgett as Thane Banquo and Scott Coopwood as Thane Macduff give violently excellent performances as victim and victor.”
– Albert Goodwyn, SF Performing Arts Examiner
“Macbeth’s insanity became more and more prevalent, the sun set and the moon rose, casting an eerie light upon the stage. Of particular note was the design of the apparitions, Instead of a couple appearing from the witches’ cauldron and Banquo’s ghost during the dinner scene, many different apparitions appear throughout the play, and multiply in direct correlation to Macbeth’s insanity….
William Elsman’s Macbeth grew on me …he was a true star. Macduff (Scott Coopwood) …became one of my favorites. Robert Currier deserves special recognition for his hysterical performance of the Porter, which became one of the best highlights of the show for me….
Pack a picnic and your warmest blanket, and see this show with your family."
– Paul Webb, For All Events
“The Marin Shakespeare Company has a long tradition of staging the works of the Bard (and other pieces) in the idyllic setting of Dominican University’s beautiful outdoor amphitheater in San Rafael, and this year’s production of ‘Macbeth’ is a fitting new chapter in their annals.
While winds blow and leaves crackle on the trees, we see the company bring the chilling tale to life, and…the crew has done an exceedingly fine job with this production. The witches are otherworldly; the costumes are rough-and-tumble enough to suggest a general medieval flair. The clever stage design, centered on a sort of denuded forest theme, does a fine job of suggesting spartan castles and lonely moors before it transforms into a shambling Birnam Wood….
William Elsman in the title role has the required presence and a fine dramatic delivery.…Scott Coopwood…seethes and grieves commandingly about the stage as Macduff….
The iconic scene with the porter is a pleasant interlude, played as it is with great gusto by Company artistic director Robert S Currier….
Though ‘Macbeth’ is famously a play with much to say about gender roles, this production admirably does anything but leave the women out…Alexandra Matthew…carries the role with aplomb and energy….
Newcomer Madeline Harris does well in a double role as Macbeth’s harried servant and the youngest of the witches….
What’s more, the production’s use of ghosts or spirits throughout makes use of every youthful actress the Company could drum into service, and this affords a few of them moments when they can steal scenes with expressive supernatural writhing. This does as much to fill the stage with feminine presence as does their male colleagues stamping and shouting, doing battle with one another….
'Macbeth'...staged in a charming fashion and a lovely setting, will appeal to any fan of the English language’s greatest playwright."
– Evan Wynns, EDGE Contributor