Word: freinkel
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...will induct the following seniors to their chapter: Margaret Ackerly of Cabot House, Elisabeth Bentely of Cabot House, Laurence A. Bouvard of Lowell House, Charleen T. Chu of Quincy House, Lisa R. Eskow of Mather House, Jacqueline D. Ewenstein of Kirkland House, Antonia E. Foias of Dunster House, Lisa Freinkel of Cabot House, Antonia Fried of Adams House, Jennifer L. Gordon of Dunster House, Reena B. Gordon of Dunster House, Marta Hoilman of Quincy House, Nora T. Jaskowiak of Winthrop House, Susanna L. Kim of Quincy House, Diane J. Klein of North House, Toby D. Kosowski of Quincy House, Yoon...
Directed by Lisa Freinkel...
...INNOVATE or not to innovate? 'Tis it nobler to experiment with the basic texts of English theater or to remain faithful to the immortal words of the Bard? Lisa Freinkel's production of Macbeth answers these questions with resounding indecision. Actors in odd costumes stride about on a modishly surreal set, but the performance never takes us anywhere we haven't been before...
...first 10 minutes, Freinkel's mainstage production leans toward innovation. The stage is divided: one side contains stylized broken marble pillars; while the other, raked half features a big brass bed, boulders, and a door on a checkerboard cube seemingly embedded in the Loeb floor. Presumably, the split is intended to illustrate the difference between Macbeth's public behavior in front of the pillars and his secret thoughts in his twisted bedroom. Both sides taken together, the stage looks like something Dali might have sketched on the back of a napkin...
...acting of the ensemble ranges from fair to comically bad, and this too puts a hold on Freinkel's invention. But even so, she did not go far enough: in trying to mingle modern theatrical ideas with traditional Shakespearean performance, Freinkel has created a play with more internal conflicts than even Macbeth himself. Given the problems of producing college Shakespeare, perhaps she should have adopted a less reverent attitude and an even more experimental appraoch. Like its accursed protagonist, this production of Macbeth seems "cabin'd, cribb'd, confin'd, bound in to saucy doubts and fears...