Macbeth, yo no me voy a morir

Macbeth, yo no me voy a morir
4.0Reviewer's Rating

It has been 400 years after his death, and Shakespearean plays are still filling the sits of all theatres around the word. Not only is his dramaturgy highly refined, the use of literary devices superb, the use of blank verse astounding or the instructions he gave actors in his lines clear and succinct, but the themes are also masterfully crafted: Shakespeare wrote about human passions in a way no other writer could have attempted. Ben Johnson had already anticipated his immortality when he declared that Shakespeare was not of an age, but for all time.

Macbeth is possibly one of the most important tragedies the playwright has ever written. The creation of a fearful and suspense atmosphere through the characters’ actions turn this play into a decidedly dramatic piece. However, it is not just the popular themes of ambition and evilness what render this such a masterpiece, but the way Shakespeare has allowed both protagonists- Macbeth and Lady Macbeth – to suffer a complete and total transformation triggered by their rotten and low humane condition. Therefore, Macbeth becomes a lesson for all those whose ambition turns them blindly and whose thirst for power deprives them from a good night sleep.

Jorge Eines‘s version of this classic successfully portrays the themes of human decay and corruption. In his adaptation, we can see that the Macbeth’s road taken is a way of no return. Their corrupted and shadowy existence is nothing but the product of their malicious continuous actions. The play opens with the iconic scene of the witches and later goes through the play’s most relevant events. This proposal pays special attention on the ability of both actresses, Florencia Limonoff and Coni Marino, to play different characters all along the play, allowing Lady Macbeth to suddenly become the faithful Banquo, and a filthy and supernatural witch to transform into the ever conflicted Macbeth. Such alteration is achieved by a sudden different pitch of voice and by the subtle change of clothing, which substantially contributes to the consolidation of all characters. The scenography serves, together with the well-crafted costumes, as a reference to indicate that the alienation between these character´s downfall and ambience correspond to each other.

Watching the play is a great opportunity to remind us all what realistic drama is capable of achieving and how independent productions are the best way to keep classical theatre alive and immortal. It is, moreover, an alert for all those whose determination to achieve success rules their lives wildly and whose humane touch has been lost in the way: careful what you wish for.

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