Director's Notes: Characters in MACBETH

MACBETH is a study in tyranny; its origin, its psychology, its legacy. There are no heroes in MACBETH.  It is not a tragedy of character but rather a tragedy of consequence.  The ultimate tragedy in MACBETH is not the horrors and sufferings that Macbeth endures but what happens to the innocent victims of tyranny.  The ultimate guilt in MACBETH belongs to the people who allow him to become king and to those who carry out his heinous deeds after he assumes power.  Stalin, Hitler, Pol Pot, ad infinitum ad nauseum.  Individually they are the epitome of mediocrity, degradation, ruthlessness and brutality.  Surround them however with cowards, perverts, and the herd mentality, and all hell will break loose.

How anyone could listen to what Macbeth says and witness the absolute horrors he perpetrates, and then conclude that innately he is a man of nobility and honor is beyond rational comprehension.  Or perhaps it is a horrible comment about the psyche of a sizable part of the human race.

Macbeth speaks some of the most beautiful poetry in all of Shakespeare and all too frequently the beauty of the poetry is mistaken for the beauty of the man.  The eloquent poetry is of the medium and not the character. To judge his poetic imagination by the quality of his speech is a mistake.  The poetry is Shakespeare's but the tendencies, desires and actions are Macbeth's.  He, like his wife, is self-corrupted.  

From the very beginning killing is what he does and murder is on his mind.  He is a free agent and a voluntary sinner.  The weird sisters speak not one word of murder or intrigue to him.  They make a prediction that he will be king but they never imply, nor even remotely insinuate, that he must kill to make it come true.  And yet the insinuation on his part is clearly there from the beginning.  In Macbeth's mind the acquisition of the crown is synonymous with murder. They are inextricably bound.  And this alone explains his response to the prophecy. And when he is announced as Thane of Cawdor the vision of murder is so clear and persistent that is overwhelms all other thoughts.  

KING LEAR Film - Act 3, Scenes 5, 6, 7

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3.5

Cornwall is furious that Gloucester has betrayed his orders and undermined his authority in choosing to  help Lear.  Moreover, he is enraged that he has been betrayed and out smarted by someone he views as  inferior.  This is indeed a life or death situation for Cornwall, as the future of the country is at stake, yet  his personal humiliation supersedes Gloucester’s treachery.  The offense provokes Cornwall to go        beyond the defense of Britain and the necessary exercise of his authority, as he indulging his appetite for cruelty in the name of the public defense.

Edmund is on the verge of achieving his objectives, as in this scene he is named Earl of Gloucester. Still, he never allows himself to become overconfident.  He maintains his persistent awareness of what is to come and what is necessary to effectively manipulate Cornwall with his performance.   Openly betraying his father by turning the information over to Cornwall requires Edmund to portray a delicate balance of duteous candor and concerned hesitance.  Through his seeming reluctance, he draws Cornwall in, allowing the Duke to believe he is controlling the situation.  Edmund ironically gains Cornwall’s trust in him as “a dearer father,” by betraying his own father to prove his loyalty.

Cold Storage: A Play

I was honored to tour Europe in a production of Ronald Ribman’s wonderful play, Cold Storage.  

Parmigian is one of my all-time favorite characters.  I loved spending time with him and hope to do so again shortly.  I was thrilled by the reception to the production.  

Some thoughts I had when preparing the role:  

- To live in the past is to lose.  No battle can be won in the part that is already lost.  No prior decision can be reversed.  A negative, horrible past cannot be made positive but it can be made useful.  It can fortify us and help us win in the present and the future.

KING LEAR Film - Act 3, Scenes 3,4

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                                                                    3.3

Gloucester is naïve and trusting with Edmund.  He treats him as his closest ally, as a father would indeed trust a beloved and respected son.  He plays right into Edmund’s scheme, blind to his son’s true nature, and hands Edmund the opportunity to malign Gloucester’s credibility, while proving himself invaluable and indisputably loyal to Cornwall.  Yet in choosing to help Lear, Gloucester also demonstrates an insight into the disorder that results from Lear’s total removal from power.  Gloucester proves his bravery, loyalty, and nobility in choosing to support the master he has served for years, knowing that it is a dangerous and potentially fatal endeavor.  In doing so, Gloucester aligns himself with the old guard, the aged power base that is well beyond its peak that the younger generations are eager to unseat.  In departing to support Lear, he makes literal the figurative lines of division that have already been established. 

3.4

In the second part of the storm, Lear continues to deteriorate physically and mentally yet remains  absorbed in self-reflection, confronting the turmoil within and blocking out the squall that surrounds him.  Still, the interior and exterior upheaval compound one another and increase exponentially.

OTHELLO Master Class 6

Audio Podcast Series of Master Classes for Professional Actors exploring Othello with Alexander Barnett - This class is a continuing in-depth discussion of the courtship of Othello and Desdemona and the undercurrents at play prior to Cyprus.

KING LEAR Film - Act 3 Scenes 1,2

 Stream on Amazon Prime - Episode 7

3.1

The instability Kent feared when Lear banished Cordelia has set in upon the kingdom.  As ever, Kent’s primary objective is to protect Lear’s physical and mental well-being.  He must get him out of the storm, which is quickly speeding up Lear’s decline.  The storm is getting worse. They are only twenty minutes from the courtyard and have already become separated.  While Lear is trapped in reflection on the past, Kent must be looking ahead to the future and turns back in search of the first Knight.  Now that both daughters have abandoned him, he turns to Cordelia, as she may be the last source of refuge for Lear.  Kent is relying on his knowledge of their relationship and trusting that despite everything that has happened, she still cares deeply for Lear and will want to do whatever she can to help him.  Kent’s loyalty and devotion shine in this scene and throughout the storm.  His shrewdness is also apparent, as even in the face of the dire present, he is still thinking ahead and planning for what is to come.  The first knight is somewhat perplexed by Caius hints as to his identity and the instruction to contact Cordelia, but he, like Kent, is devoted to serving Lear, and will gladly travel to Dover in the elements to uphold his duty. 

3.2

The intense cold, the jarring wind, and the plaguing thunder take their toll on Lear, Kent, and the Fool.

OTHELLO Master Class 5

This class is an in-depth discussion of the courtship of Othello and Desdemona and the undercurrents at play prior to Cyprus. https://www.alexanderbarnett.com/oth.html http://bit.ly/KingLearAmazonPrime