August 17 to 20, 2022 (Four Performances)
Theatre One (The Lion) in Theatre Row, 410 W. 42nd Street
Presented by Renaissance Now Theatre & Film
7:30 PM Wed August 17 (preview), 7:30 PM Thur August 18 (opening night), 7:30 PM Fri August 19; 2:00 PM Sat August 20.
Tickets $18 General Admission, $10 Students/Seniors; groups of four: $25 total, $5 Special for Preview Aug 17.
Buy tickets:
Audience info: 212-714-2442.
Runs 1:55 (one intermission)
Company's website:
Critics are invited to all performances.

NEW YORK, July 7 -- From August 17 to 20, Renaissance Now Theatre and Film will present New York audiences with a novel adaptation of "Macbeth" titled "Macbeth-Redux" that focuses on the moral questions of transfer of power. Adapted and directed by Kathy Curtiss, the production adds brief modern language "off-text" passages that are performed in the style of a "Greek chorus" by thanes and other characters to illuminate unpredictable and confusing events they witness but are unable to change. Renaissance Now Theatre and Film, under the direction of Ms. Curtiss, workshopped the piece in June, 2022 at Castle Theatre in Utah. It will be mounted at Theatre One (The Lion) of Theatre Row, 410 West 42nd Street, for four performances only: 7:30 PM Wed August 17 (preview), 7:30 PM Thur August 18 (opening night), 7:30 PM Fri August 19 and 3:00 PM Sat August 20.

Historically, Scotland was unique in its election of the successor to the throne from among the thanes. The blood line was considered a factor but consent was expected from among the worthy and loyal thanes. Hence in the play, a lot of Shakespeare’s exposition speaks to the loyal thanes and traitors in their defense against the Norwegians as the play begins. The worthiest thane for succession was MacBeth, yet Duncan named his young son Malcolm as heir after the first battle. The effect of this political slight proves an inciting moment for the play and here is registered in the “off-text” banter between thanes Ross, Angus, and Seyton. They serve as a Greek-style chorus, representing the response of the common man to their plight. The play also goes “off-text” in a scene with Lord and Lady MacBeth as they discuss her son from another marriage and their status as a barren couple in this era of keen need to establish an heir. The witches, to symbolize the interplay of choice with chance and fate, also jump “off-text,” developing both humor and this theme in their exchanges.

Director Kathy Curtiss explains that her concept of mixed texts is meant to illuminate the bystander's view of historic events the way Rosencrantz and Guildenstern illuminated Beckettian themes in Tom Stoppard's takeoff on "Hamlet." The aim is to evoke great feelings of recognition in anyone who has stood helplessly by as our own nation has grappled with the struggle over succession that has been unfolding before our eyes.

The design suggests medieval Scotland with modern touches to add relevance to the time period. The set suggests ruins of a stone castle structure to indicate the effects of war. Music is traditional Scots bagpipe and drum, along with Celtic folk songs.

Kathy Curtiss, Artistic Director of Renaissance Now Theatre & Film, is a frequent director for The Drilling Company's Shakespeare in the Parking Lot, for whom she has staged "Comedy of Errors," "The Tempest," "Twelfth Night," "A Midsummer Nights Dream," "Much Ado About Nothing" and "Love’s Labours Lost" and has been fight director for "Hamlet," "Romeo & Juliet" and "Othello." She has also staged an original translation/adaptation of "The Seagull" for The Drilling Company. She has also directed for in Santa Barbara for the SB Shakespeare Company ("Hamlet," "The Three Musketeers"), Center Stage Theatre ("True West," "Lion in Winter") and many seasons at the Castle Shakespeare festival in Utah. Her resume directing original scripts includes "Beloved" at Theatre Row, "We are the People" and "Ancestors" for Scandinavian American Theatre Company, "A Final Toast" for New Perspectives Theatre Company and "Samaritans" for the Oberon Theatre. Her work in directing experimental works in NYC includes a physical theatre play, "Wing to the Rooky Wood," for the New York International Fringe Festival, an edgy "A Lie of the Mind" for The Michael Chekhov Theatre Company's Sam Shepard festival, and Renaissance Now’s production "Romeo & Juliet" at the New York Bohemian Hall and "Diaries of Romeo and Juliet" at New Perspectives Theatre Company. She has been an instructor in Acting and Film Directing at ten university BFA programs in New York and nationwide and has directed and produced short films and documentaries.

The actors are: Marvin Payne as Duncan, Zachary Ballard as Macbeth, Mira Kocherhans as Lady Macbeth, Anton Moss as Banquo, Jacob Thomasen as Malcolm, Logan Murphy as Donnalbain, Adam Argyle as MacDuff; Logan Murphy, Olivia Casper and Olympia Pead as the Witches; Stephano Puertas as Ross, Mason Tarwater as Angus, Gavin Henry as Seyton, Keely Conrad as Witch/Celtic Singer and Abby Tarwater as Lady/Warrior.

Fight direction is by Matthew Carlin (member SAFD). Celtic dance and song are by Keely Conrad. Sound and lighting design are by Richard Curtiss. Scenic Design is by Janice Chan. Costume consultant is Rebecca Nibley. Intimacy counselor is Jeremy Sortore.

Renaissance Now Theatre & Film produces new works and reimagines classical works that illuminate the human condition through a contemporary lens. Its productions have included classics and experimental works at the New York International Fringe Festival and the Great Salt Lake Fringe Festival, guest artists at The New Perspectives Theatre Company ("The Diaries of Romeo & Juliet") and 20 year history of production at the Castle Shakespeare Festival in Utah. The company sponsors new writing and short, feature length and documentary films.

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CRITICS ARE INVITED to all performances (opens August 18).
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