www.theotherpress.ca ARTS. ‘AMacbeth brings a little magic to Douglas College Actors discuss plays wardrobe and challenges Cheryl Minns Arts Editor arts@ theotherpress.ca illiam Shakespeare's Macbeth just got a lot more magical with the revamp of Douglas College’s production of Charles Marowitz’s A Macbeth. Featuring elaborate costumes inspired by Luisa Casati—described by acting student Olivia Lindgren as “the Lady Gaga of the 1920s’”—and exploring internal character struggles with an alter ego, A Macbeth promises nothing less than a fantastic show. I spoke with two of the lead actors, Parker Thompson, who plays Macbeth, and Lindgren, who plays Lady Macbeth, about what to expect in a play like this. “Expect the unexpected,” Lindgren teased. “There’s definitely a twist to this story.” Having some knowledge of the original play is suggested, as this version does take a few liberties with the content. “Our play isn’t exactly Macbeth—it’s an adaptation,” Thompson explained. “All the lines that are used are from the original play, but they’re mismatched around and different characters say different things.” The play follows the general storyline of the original, but delves deeper into the characters’ inner thoughts. “Tn Macbeth, there are tons of little characters here and there and they kind of shaved this one down to put only what's necessary. I think that really lets you see more of Macbeth and Lady Macbeth and why they do what they do compared to the old story,” Thompson said. “You get to see more of the internal struggle with the characters than what's really portrayed on the outside,” Lindgren added. When the theatre faculty members pick a play for a performance, they look for scripts that will challenge their students. Lindgren and Thompson agree that A Macbeth has had its challenging moments. Lindgren described the play as a collage of scenes without formal character development. “It’s really hard to drop in and just be there in every moment, no matter what is going on,” she said. “Assuming some pretty large and dark roles for us specifically is a battle,” Thompson said. Learning to speak the unnatural rhythm of Shakespeare’s words has not been easy, either. “It’s not our everyday language, it’s not the context that we live in,” Thompson explained. “I know I’ve heard many times and I’m now starting to experience that Shakespeare is some of the most difficult theatre because you have to incorporate everything that you already know and more.” A Macbeth will be playing from November 8 to 16 at the Laura C. Muir Theatre at Douglas College’s New Westminster campus. Tickets are $10-12, and can be purchased through Massey Theatre at 604-521-5050 or tickets. masseytheatre.com British Pantomime 101: Intro to Panto An unconventional Christmas tradition in live theatre Clive Ramroop, Contributor This is the first article in a series about pantomime productions in Greater Vancouver and the Fraser Valley. Next week, we will hear from the Fraser Valley Gilbert & Sullivan Society on its upcoming show, The Frog Princess. ee ta, et Ae te a A elcome to the world of British pantomime, or “panto” for short. For the uninitiated, a panto is an interactive, musical comedy production that breaks just about every rule of live theatre. It is a centuries- old Christmas tradition in the United Kingdom with followings in various British-rooted countries, including Canada. The standard style of a panto puts outrageously comedic spins on classic stories, legends, or fairy tales, such as Robin Hood or Cinderella. Some of those twists include certain casting conventions as core elements in the panto tradition. While there is always a Alan Cedargreen. Kerris Norris. Mark Manning in cinderella | Photo courtesy of Stacey Sherback lead female ingénue, damsel, or princess role known as the “principal girl,” the panto also casts key characters in gender- reversed roles. The “principal boy” is the lead male hero, like Aladdin, Prince Charming, or even King Arthur, who’s sometimes played by a woman, but not always wearing fishnets and heels. Then there is the dame, usually a mothering or man- hungry (or both) woman played by a man with no attempt to make him (her?) appear the least bit attractive. The louder the costume and make-up, the stronger the comedic effect. Musical selections can be anything from novelty tunes like “Tie Me Kangaroo Down,” selections from Broadway plays, and even popular hits like “Bad Romance,” “Thriller,” or “Takin’ Care of Business” reworked with new lyrics to fit them into the show. The jokes also range all across the spectrum, from puns so terrible that even a grandfather would groan at them, to clever riffs on contemporary pop culture or real world events, regardless of their anachronistic presence. Picture the Sheriff of Nottingham sending his stooges on a mission, saying, “Succeed and I will reward you. Fail... and I'll make you watch re-runs of Toddlers & Tiaras for the next five id years But perhaps the most central and essential factor in a panto is audience participation. The audience does not simply sit down, shut up, and watch the show. In fact, the crowd is encouraged to boo and cheer throughout the show. If the audience doesn’t react loudly enough, the performers will force them to yell louder. The players don’t merely break the fourth wall; they obliterate it, playing directly to the crowd, and often going directly into the house while still in character. “My favourite thing about pantos is that the fourth wall is always broken,” said panto player Michelle Gaetz. She played the title role of White Rock Players’ Club’s Pinocchio last year and will be appearing in the Fraser Valley Gilbert & Sullivan Society’s The Frog Princess this November. “You get the free will of improv and the luxury of a structured musical theatre piece in one show,” Gaetz said. It’s a unique theatrical experience that can’t be found anywhere else; like an over-the- top cartoon in flesh and blood.