A political season makes a particularly appropriate time for an encounter with the character of Macbeth, he of the "vaulting ambition."
Not that we need a fresh election to be reminded of how consumed some people can become with the business of gaining influence and power. But the climate of our times does seem to put a fresh little bite into Shakespeare's play about the soulless man who coveted a throne, and the wife who coveted right along with him.
Chesapeake Shakespeare Company offers a production of "Macbeth" that cuts to heart of the gruesome matter in propulsive, atmospheric fashion. Directed by Paul Mason Barnes, the twist-filled plot unfolds at a generally brisk pace on, around and above the main stage area.
The dark world of 11th-century Scotland is neatly evoked through technical director Daniel O'Brien's lighting and scenic design, Kristina Lambdin's costumes and Rusty Wandall's soundscape.
The production plays up the tight bond between Macbeth and Lady Macbeth. This regicidal duo clearly find power a big turn-on, rolling around on the cold castle floor just at the thought of their next dastardly step. That extra physicality could look silly, but instead adds a significant layer.
In the title role, Jeff Keogh struts and frets persuasively. He can sound monochromatic at times but still gets to the meat of the words. And when it comes to the most important scenes, especially the moment when Macbeth learns of his wife's death, Keogh achieves considerable expressive weight.
As Lady Macbeth, Lesley Malin could use more edge; she seems rather soft-grained for such a determined partner in crime. But she rises beautifully to the sleepwalking scene, offering abundant nuance of voice and gesture to draw out the pathos of Lady Macbeth's unraveling
The excellent witches — Kathryn Elizabeth Kelly, Tamieka Chavis and Greta Boeringer — are all the more effective by not going overboard with the haggishness.
Vince Eisenson does a typically vivid job as Macduff; he handles the big grief scene in the last act with exceptional style. Gerrad Alex Taylor makes a sympathetic Malcolm. The rest of the large cast includes a mix of solid and less-seasoned performers.
There are a couple of missed opportunities for heightening tension. The end of Act 1, for example, would be more compelling if the blackout were timed exactly with the jolt of an overturned table, not afterward. And too much time is killed for some body removal in Act 2.
Overall, though, this "Macbeth" maintains a taut energy as it drives home the play's grim reminder that "blood will have blood," and provides a worthy salute to the author, 400 years after his death.
tim.smith@baltsun.com
If you go
"Macbeth" runs through May 15 at Chesapeake Shakespeare Company, 7 S. Calvert St. Tickets are $15 to $49. Call 410-244-8570, or go to chesapeakeshakespeare.com.