by Patrick White
Note from the Company: For Macbeth, Schenectady Civic Players is introducing the Angel Light Program, an accessibility measure developed by director and lighting designer Laura Darling following her electronic training with the Epi Arts Alliance. The system uses two discreet colored lights to provide advance notice of violent or disturbing scenes, sudden noises, and strobe effects, helping theatergoers with photosensitivity or traumatic triggers prepare for these moments and more comfortably experience the production. For more information about the program, contact director Laura Darling at lauramdarling@gmail.com.
It’s here! The Fall season in the Capital Region kicks into high gear with Laura Darling’s maximalist Macbeth which opened Friday, 10/16 and runs five more performances through Sunday, 10/25 at Schenectady Civic Playhouse.
Walking into the crowded lobby and joining one of the healthiest Sunday matinee crowds I’ve seen recently at SCP, sitting in the house and gazing at the richly detailed, three level set, I sat and smiled at all of this effort and energy that has been poured into creating a work for the stage.
I’ve followed the development for months on social media with the endless number of arresting photos and videos (many by cast member David Quiñones Jr. who does exemplary double duty as Macbeth’s rival MacDuff and graphic designer) which have informed us that there was a cast of 23 (15 making their SCP debut), roles were added to the play, there would be choreography, sword fights, an occult specialist and company members with extensive backgrounds in Shakespeare. It is a lot to wrap your head around but it is easy to see the mountain of talent, love and generosity poured into this endeavor.
For those unfamiliar with Shakespeare’s bloody tragedy, it is about a triumphant warrior who returns from battle. He is prophesied by three witches to be the future king and is convinced by his wife to kill the ruling king, seize power and vanquish all threats. His actions fuel superstition, guilt and paranoia in himself and his wife which leads to more mayhem until their bloody demise. Titus Andronicus might be Shakespeare’s bloodiest play but Macbeth does feature a regicide, a suicide, the murder of a family and a beheading.
The performance opens with Michael McDermott who is very animated as the drunken Porter having a grand time with the curtain speech before he is chased off by the witches’ familiars(roles added to the play) who are spirits with light-up eyes and body suits costumed by Rory Alexa played by the fine actors Tony Pallone, Emily Rae Fernandes and Sydney Davis. I appreciated the witches (Siobhan Shea, Rachel Bratager & Deborah Kelsh) and their movements choreographed by Shaya Rayes but the bold idea of them having helpers was perhaps better in the conceptual stage of the process than in their execution on the stage. SCP is not the largest stage in the Capital Region and does not easily accommodate large casts or every movement you can dream up and some scenes, especially the sword fights, felt tight.
Michael Lake is commanding as Macbeth. He enters victorious and is never less than a man in full so to see him brought down by his own hubris, ambition and loss of conscience made for a powerful play. Molly Waters as Lady Macbeth is every bit Lake’s equal and they pair together well. Their mastery of the language and ease with each other are a major highlight of this production.
The vocal work by the cast is very impressive. I was sitting in row N in the deep house and I had no trouble hearing anyone without feeling like the cast was shouting. Special mention to Mike Collins, Max Beyer, Joseph Bruton, Mike Belotti and Tobias Martin for hitting the back of the house.
J. Scala plays Banquo with a quiet authority that distinguished his performance from the start. His devotion to the Bard is palpable. Quiñones his voice craggy with emotion, tech week strain or both hits you in the heart with his inconsolable pain and anger at losing his wife and child (Meaghan Rogers and Serena Quiñones).
The leafy set by David Zweirankin ensnared by twisting tendrils of vines is a dark ages playground for this gruesome tale with lighting design by the director Laura Darling. My favorite moment of the show was accompanied by a light cue when Macbeth receives news of his wife’s fate and launches into “She should have died hereafter…” The power of the simple speech delivered by an overwhelmed Lake was breathtaking.
The prevailing response to this feast of creativity focused on Shakespeare’s most popular tragedy for me is one of great pride, respect and gratitude that we have such opportunities and villages of participants ready, willing and able to happily pour their considerable talents into a play.
You may walk out of this production positively intoxicated with the good vibes of a community celebrating each other, themselves, the audience and Shakespeare. Nothing wrong with that!
Schenectady Civic Players present “Macbeth” by William Shakespeare, directed by Laura Darling, from October 16-25, 2026, at the Schenectady Civic Playhouse, 12 South Church Street in Schenectady, NY. CAST: Michael Bellotti, Michael Bertone, Max Beyer, Rachel Bratager, Joe Bruton, Mike Collins, Sydney Davis, Emily Rae Fernandes, Erin Harrington, Tara Huhn, Deborah Kelsh, Michael Lake, Tobias Martin, Michael McDermott, Peter Vincent Miranda, Tony Pallone, David Quinones Jr., Serena Quinones, Meaghan Rogers, J Scala, Siobhan Shea, Molly Waters, and Mindy Whisenhunt. CREATIVE TEAM: Direction and lighting design by Laura Darling; assistant direction and choreography by Shaya Reyes; production and light board operation by Joe Plock; stage management by Beth Swallow and Kimberly Collins; set design, master carpentry and master electrical work by David Zwierankin; sound design and Foley artistry by Sean T. Baldwin; assistant sound design and sound board operation by Chad Reid; costumes by Kara Lindsey Shoen; costumes for the familiars by Rory Alexa; assistant costumers Melinda Casey and Livia Walker; hair and makeup by Meaghan Rogers and Jennie Canale; properties master Jennifer Bart; occult specialist Catt Kingsgrave; dramaturgy by Kathryn Fore; props assistant Jasmine Schatz; poster art by Tony Pallone; graphic design by David Quiñones Jr.; photography by Willie David Short V; publicity by Laura Graver.
Performance dates are Friday–Sunday (October 16–18) and Wednesday–Sunday (October 21–25). Evening curtains on October 16, 17, 21, 22, and 23 are at 7:30 PM, and matinee curtains on October 18, 24, and 25 are at 2:30 PM. Single tickets are $25. Tickets are available online through the SCP website, by phone, or at the door for any performance. Season subscriptions are also available now for all five shows of the 2026–2027 season for only $80. Call 518-382-2081 or visit civicplayers.org for more information.