by 
This production is “We Players” third staging of Macbeth at Fort Point. I saw the second version more than a decade ago. At the time, I gave it a 5 star review and wrote that “some theatre experiences are remembered for a lifetime: ‘Macbeth At Fort Point’ is likely to be one of those. Those fortunate enough to attend this extraordinary event (it is more than a play) will be revisiting the memories for years to come.”
This is equally true of the current revival.
When I learned that Macbeth would be returning to Fort Point, I was excited, but I tempered my enthusiasm with the observation that lightning was unlikely to strike twice in the same place, and I was prepared for disappointment. I need not have been. Not only does lightning strike again in the current production, it is, if anything, even more thrilling than the last.
Twelve years ago, I remarked that ” the stars of the show are Fort Point, the San Francisco fog, and the mighty roar of the Pacific.” I was gently implying that the performances were capable, but undistinguished. That is no longer the case. While the stunningly beautiful and evocative setting certainly enhances the experience, this show would satisfy on even the most conventional stage. Ava Roy’s Macbeth is as polished as any I have ever seen, athletic and gentle at the same time. Having a woman play Macbeth brings to his soldier’s character a haunting confusion, a sense of the queer, that chills the heart and thickens the blood. As Lady Macbeth, Ann Podlozny is equally outstanding. She brings to the Lady not only horror and madness, but a wry sense of humor that actually manages to elicit a nervous but genuine laugh in the banquet scene when she dryly informs Macbeth that “you have displaced the mirth” after he hallucinates that the ghost of Banquo has come to take his revenge. It takes some guts to play any of Lady Macbeth’s lines for a laugh, but Podlozny pulls it off.
Such a freewheeling approach to the text is typical of this production, and it is a fine choice. Macbeth is certainly an action play and yet, it simultaneously contains some of Shakespeare’s deepest and most musically beautiful poetry. Poetry that seems to demand time to unfold its sonic glory. Thus, in most productions there are moments when the action slows to accommodate the beautiful language.
Ava Roy, who does double duty as director and Macbeth, will have none of that. She has chosen to push this Macbeth along at breakneck speed, not slowing down even a bit to make room for poetry. What poetry we get must come and go on the fly, and this is surprisingly effective. Rather than diminish the poetic moments, she brings them fresh life. When her Macbeth responds to Lady Macbeth’s premature death with the famous drumlike lines that begin, “Tomorrow and tomorrow and tomorrow creeps in petty pace from day to day,” her pace is anything but petty. She feels the depth of the moment, and matches it with her words, but the rush of events does not permit her to linger. This directorial choice in favor of reckless speed over rich contemplation is risky and pays off in spades. It is as much a hallmark of this production as are the howling winds, the fog, and the haunting echoes produced by the cold, oppressive stone walls of the Fort.
The other cast members are also excellent. I would particularly call out the Three Weyrd Sisters, who haunt every corner of the Fort, always present in the background. Of the three, I will go a step further, and call out Chris Steele as the third witch whose lurch and tremble embellishes the horror. Steele continues to build one of the most original bodies of work of any actor in the Bay area over the past three decades.
The excellent lighting design of Nic Candito works well in concert with the natural shadows of Fort Point. The props and set elements designed by JD Durst and the costumes by Brooke Jennings all fit seamlessly into the overall production. Charlie Gurk’s ubiquitous musical score is a perfect accompinant to the action.
Nothing is lacking here. You should definitely get your hands on a ticket.
‘Macbeth at Fort Point (2025)’ continues at Fort Point National Historic Site through May 18, 2025. For further information, click here.
_________________________________
Rating: ***** (For an explanation of TheatreStorm’s rating system, click here.)
_________________________________
“Macbeth” by William Shakespeare, adapted and directed by Ava Roy. Composer and musical director: Charlie Gurke. Costume Design: Brooke Jennings. Lighting Design: Nic Candito. Weapons/leatherwork/set elements: JD Durst. Fight Direction: Chris Steele & Nic Moore. Fight Captain: Nic Moore. Videographer: Tracy Martin.
Cast:
Weyrd Sisters: María Ascensción Leigh, Julie Douglas, Chris Steele. Duncan: Britt Lauer. Macbeth Ava Roy. Lady Macbeth: Ann Podlozny. Macduff: Ling Ling Lee. Lady Macduff: Alexandra Rivers. Macduff Child: Britt Lauer. Banquo: Erin Mei-Ling Stuart. Fleance: Isabelle Barkey. Porter: Libby Oberlin. Ross: Libby Oberlin. Murderers and Messengers: Erin Mei-Ling Stuart, Alexandra Rivers, Britt Lauer, Anjoli Aguilar. Captains: Liz Woolford and Imri Tate. Sergeants: Jesse Dim, Rebecca Laibson Popell, and Ruth Tringham.
The Musicians:
TheatreStorm 