Carolina Ballet’s impressive ‘Macbeth’ a crowd-pleaser

Full-length story ballets are rarely attempted because of the effort and expense. Carolina Ballet’s artistic director, Robert Weiss, has created two in the company’s previous 17 seasons (“Carmen” and “Don Quixote”), but his new, crowd-pleasing “Macbeth” is on an impressive scale not previously seen.

Weiss’ version of the familiar Shakespeare tale brings together a top-level creative team. Jeff A. R. Jones’ massive set pieces have great wow factor, especially the floor-to-proscenium stone slabs suggesting a harsh medieval world. These reconfigure to reveal the backdrop’s cloud formations that turn ominous, fiery or sunlit under Ross Kolman’s ever-varied lighting. David Heuvel goes beyond his usual high standards with costumes ranging from richly detailed gowns and tunics to leather-and-metal battle uniforms, along with stunning court regalia and otherworldly witches garb.

J. Mark Scearce’s score is full of drama and melody, imminently listenable in its appropriateness for each mood. The 41 players of the Chamber Orchestra of the Triangle, confidently conducted by Alfred E. Sturgis, fill the hall with thrilling fanfares, spooky underscoring and even a romantic love theme.

That theme enhances scenes Weiss added that show how Macbeth and Lady Macbeth fell in love and were wed. There’s a lot of narrative plot, but in three fine pas de deux, Weiss beautifully evokes the passion and ambition of the pair in dance.

Marcello Martinez makes Macbeth heroic but hesitant, his resolve made firm by Lara O’Brien’s multi-layered Lady Macbeth, her cool manipulations growing ever stronger until circumstances drive her to madness. The pair’s final scene is the work’s most riveting moment. Richard Krusch and Margaret Severin-Hansen give the Macduffs strongly-etched personalities. Pablo Javier Perez is chilling as Banquo’s ghost, Nikolai Smirnov’s antics as jester Seyton are amusing and Randi Osetek floats ethereally as the goddess, Hecate.

Some elements bear re-thinking. The score repeats several main themes relentlessly with little variation. Large stone set pieces are in constant motion, especially distracting when moved by cast members intruding into the scene. Battle scenes go on too long and are repetitive. The piece doesn’t really catch fire until the second act, making the evening’s two and a half hours seem longer.

Still, the audience’s vociferous response and the many positive comments overheard in the lobby indicate a big success for the company.

This story was originally published April 15, 2016 at 5:32 PM with the headline "Carolina Ballet’s impressive ‘Macbeth’ a crowd-pleaser."