Shakespeare by the Sea’s MacBeth haunts local parks

by Romia Lisboa

It’s an exciting change of pace to sit in a park on a weekday evening, listening to the chants of witches while watching actors in medieval costumes. The longer we sit, the more the experience enchants us. 

Last Wednesday, July 8, in Hermosa Beach’s Valley Park we were immersed in the land where King Duncan’s blood and the blood of many others would be shed. We had arrived at the tale of Macbeth. 

The Scottish tragedy is beautifully told in Shakespeare by the Sea’s (SBTS) summer production. SBTS has offered free performances of Shakespeare’s plays since 1998. Performances are free, which, combined with their modern verse translations by playwright and Shakespeare scholar Migdalia Cruz, makes them accessible to all groups and ages. 

The production is currently touring parks throughout Southern California, including a handful in the South Bay. In previous seasons, SBTS staged two productions each summer. This year, however, a shortfall in funds led to a difficult decision. 

“With our year-end campaign goal not fully met and costs continuing to rise, we took a careful look at how to preserve this beloved community program,” Stephanie Coltrin, co-artistic director of SBTS, explained. “We realized we could focus our resources on one powerful production and still offer a great summer program.” 

The organization chose Macbeth, the story of a Scottish Lord who, tempted by the prophecy of witches, murders his king and friends to secure the throne. The story’s exploration of unchecked, ruthless ambition and its consequences remains relevant to this day.

Most notable for its success is Cylan Brown, who performs Macbeth with restraint and precision. Macbeth’s many hallucinations hardly feel repetitive, and his emotions are intricately layered. Trickles of doubt and fear can be read in Macbeth’s red, anguished complexion. 

Phoebe Alva’s Lady Macbeth is also remarkable. Alva captures the full range of a femme fatale, from ruthless calculation to overwhelming guilt. Brown and Alva command the stage. 

But other than Peter Green’s Ross in Act IV, Scene III (arguably one of Shakespeare’s most important scenes), the other main characters are less impressive. 

Nevertheless, the production’s strong moments outweigh the weak. Lady Macduff’s short but memorable scene leaves audiences grieving, the witches’ unified chants capture the spirit and tempo of the original text, and Banquo’s skepticism is vividly captured in his handful of scenes. Another noteworthy standout was Katie Herling’s Porter, whose comedic timing in the “knock-knock” sequence provides a much-needed change of pace after the first of many murders, and was noticeably appreciated by the audience. 

The production utilizes the surrounding park to elevate the story. The staging of the witches, who lurk around the stage, is brilliant.

But most impressive was the staging of Act IV, Scene I. Act IV begins as the sun is almost completely descended, mirroring Macbeth’s descent. As the witches circle the cauldron, chant spells, and add strange ingredients to their cauldron, a wicked feeling fills the air. Then what seem to be ghosts approach the stage from the surrounding landscape, transporting us to 11th-century Scotland. The wind pushes on the veils of the ghosts and the robes of the witches, making you feel the effect of the witches’ chants. Like Macbeth, we begin to believe in their power.

The production blurs the line between storytelling and audience involvement. When Macbeth raises a toast to Banquo, whose murder he orchestrated, audience members raised their cups. In the battle scene where Macduff’s army disguises itself as trees when approaching Dunsinane Castle, soldiers sneak down the aisles as though the army is advancing on the audience.

These elements serve as a reminder that the beauty of live theater relies not only on the performers but also on the atmosphere. As the wind flutters across the actors’ costumes, the audience’s subtle gasps, shouts of despair, and clinking glasses unite us in the gift of this production: an escape into the enthralling world of Macbeth. 

But as beautiful as these experiences are, they are sadly not guaranteed. 

Coltrin said SBTS still needs $53,337 to pay for this season. Without ticket revenue and with rising costs, the organization relies on sponsorships, donations, and grants more than ever to continue their mission. 

“South Bay residents can support us by attending the shows, making donations, and getting businesses to sponsor,” Coltrin said. The production also raises funds through the sale of merchandise, concessions, and raffle tickets. 

Upcoming Performances:
Performances are free

• Manhattan Beach, Polliwog Park – 7 p.m., Thursday, July 16, 17. 
• Redondo Beach, Veteran’s Park – 7 p.m., Friday, July 24. 
• Redondo Beach, Dominguez Park (Closing Candlelight Ceremony) – 7 p.m., Saturday, July 25. 

For more about SBTS, visit ShakespeareBytheSea.org. ER