In their goal of making Shakespeare entertaining and accessible, the goblins succeed in spades ... or, possibly, in pitchforks
If a stranger approaches and asks you this question, that’s usually a sign of trouble brewing.
The hostile takeover doesn’t take long, and the goblins busily give several procedural aspects of theatre a unique spin as they go from unwelcome intruders to reluctantly honoured guests. They draft frightened stage technicians into service and opine that of course humans would wish to acknowledge the land while busily assembling and disassembling the few props and set pieces they’ve purloined from backstage. They aren’t your two-dimensional, evil Tolkien goblins, they patiently explain.
The goblins are happy to play fast and loose with the details while remaining relatively faithful to the plot and script. In one of the show’s most successful running gags, they turn Donalbain into a tiny lapdog, a metaphor for the second son of King Duncan’s only role in supporting older brother Malcolm’s escape from Scotland. The ghost of Banquo spins on an office chair under blood-red lighting , a low-budgettwist.
And while they do – pondering the foibles of humanity by asking why anyone would care about finding the perfect rhyme or what the point is in pretending to kill a character when there are actual, ready-to-stab interns right there – so much of the focus is on the silliness of performing the play from beginning to end with only three actors that the commentary sometimes gets lost in Birnam Wood. In the end, our hybrid theatrical creature is more Macbeth than goblin.
Noastack Goblin Macbeth Shakespeare Witch Coverage Goblins Audience Moog Tolkien Stratford Calgary
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