Independent Student Productions brings Macbeth to USC


Shakespeare’s Macbeth will open Halloween night at USC’s Massman Theatre.  The play, produced by Independent Student Productions, takes a creative approach to Macbeth  by shifting the gender dynamics and presenting the play in a timeless setting. The director, Elisabeth Morgan, a senior majoring in theatre and English, drew inspiration from studying abroad in London. After working at the Globe Theatre, Morgan decided to emulate the “passion” of English Shakespearean theater by directing Macbeth at USC. Morgan has participated in Brand New Theatre and ISPs before but this is her first time directing a full-length ISP. Although USC’s School of Dramatic Arts puts on mainstage productions throughout the year, Lindsay Strongin, a senior communication major and actor in Morgan’s production of Macbeth, lamented the lack of Shakespearean campus. Calling herself “a Shakespeare person,” Strongin seized the opportunity to participate in this ISP.

As the name implies, ISPs are completely student-run productions that take place up to four times per semester. Potential directors can apply for grants from the Theatre Student Association or the School of Dramatic Arts ISP Grant, from the School of Dramatic Arts’ faculty ISP grant. Morgan chose the latter route and submitted a proposed budget, a plan detailing her vision and a production schedule to the faculty committee last spring. Strongin feels ISPs are a cocurricular activity equal to internships. Meghan Laughlin, internships and special programs coordinator at the School of Dramatic Arts, describes the process as “student-spearheaded” because of SDA’s limited involvement. Laughlin, Morgan and Strongin all agree that ISPs are truly student-run productions and students show a high level of professionalism and commitment. Laughlin noted that ISPs have more flexibility in genre, schedule and venue. For example, late-night shows are especially popular with ISPs and are well-attended by students.

The freedom and entrepreneurial nature of ISPs makes them ideal venues for students to gain production experience and become deeply involved in all aspects of theatre. Laughlin added that ISPs are a “great outlet” for students to explore encourage freshmen to “get involved, network and meet other students” through these productions. She noted that ISPs have “grown in popularity” in recent years and that the School of Dramatic Arts ”always love[s] to support its students.”

Unlike mainstage productions, ISPs welcome students from all majors and all class standings. This creates a different dynamic than mainstage productions — “we’re responsible for everything, no one can drop the ball … [since] there is no faculty program to fall back on,” remarked Strongin. Students get involved in every aspect of production and gain valuable expereience outside their majors.

Thus, successful ISPs must have a strong guiding vision and a committed core of students. Morgan describes her artistic intent as “intentionally minimalist” in order to evoke a sense of timelessness akin to Trevor Nunn’s productions. Instead of using lavish costumes or extensive scenery, Morgan keeps props to a minimum so that the audience can focus on Shakepeare’s language. Morgan noted that in Elizabethan times, people went to “hear” and not ”see” Shakespeare plays — highlighting the Bard’s “visual language.” Strongin also focuses on the importance of the language, adding: “Every once in a while, there will be a simple yet striking phrase amidst Shakespeare’s eloquence.”

Unlike the traditionally male-dominated Shakespearean theater, Morgan modifies the genders in Macbeth to include more female characters. By making Banquo, Lennox and Fleance female, Morgan shifts the dynamic of the play and adds more positive female characters to this Shakespearean tragedy. Strongin, who plays Banquo, feels that this adds “a new and interesting” complexity to Macbeth and Banquo’s relationship. Unlike the seductive Lady Macbeth and the eerie witches, Banquo provides a “strong, brave, level-headed woman” in Macbeth’s life. Morgan added that this gender switch contributes to the contemporary feel of her production.

Macbeth has a long tradition of theatrical superstition, making it the ideal Halloween play. Not only does this Shakespearean tragedy feature ghosts and witches, it also revolves around revenge and murder.

“This is not your typical five-hour Shakespeare play,” Strogin said. “It’s deliciously violent and perfectly relevant to Halloween.” Morgan capitalizes on the eerie aspects of the play by having an 11 p.m. showing on Nov. 1.

In addition to the supernatural aspects of the play, there is a pervasive superstition surrounding the play. According to popular theater lore, saying “Macbeth” in a theater space invites a curse and multiple forms of bad luck. Instead, actors refer to it as “the Scottish play” or “MacB.” Although she does not personally believe it, Strongin said, “People take it seriously and had to get comfortable saying [‘Macbeth’] in the theater.” Morgan feels that actors in “the Scottish play” are exempt from the rule. She credits the student actors and production team: “Things have been going smoothly.” ISPs rely on student participation, both in terms of production and audience.

“The audience is mostly friends and family … We don’t advertise, we just rely on Facebook.” Morgan ncourages students to attend this “tale of sound and fury.”

 

Tickets are $5 and benefit ISPs. Email [email protected] to reserve tickets and check out ISP Macbeth’s Facebook page for more information.