By Peyton Emily Boles
The Gainesville Theatre Alliance shines a bright light on Shakespeare’s Macbeth, a production audiences won’t be able to forget at Hosch Theatre, located at 429 Academy St. NE. The show ran from Feb. 14 to Feb. 22.
The air inside Hosch Theatre was thick with anticipation on Saturday night, as an excited crowd buzzed with chatter, eagerly awaiting the moment the curtain—projected with a haunting dark logo—would rise. With the first recorded performance of Macbeth dating back more than four centuries, the audience had a vague idea of the madness that was about to unfold.
The production’s use of dramatic techniques, led by dramaturg Jeff Marker, was a highlight. The theater was utilized in a way that carried the actors’ voices naturally, without microphones—except for the witches, whose amplified voices, enhanced with echo and reverb, added an eerie touch to their supernatural presence. A minor issue was the occasional difficulty in understanding some of the witches’ dialogue, as the combination of their effects and enunciation left me guessing a few times during the first act. Additionally, the introductory concept of a post-dystopian world, where society has regressed due to the downfall of technology, quickly faded. While intriguing, the idea wasn’t supported by any script or scenic changes, making it feel like an unnecessary embellishment.
However, these concerns quickly faded in light of the extraordinary performances. Ben Perrin’s portrayal of Macbeth was magnetic, particularly during his intense fight scene with Thalina Siward (Karen Parker). Perrin’s natural confidence leapt off the stage, and I couldn’t help but be captivated. I later overheard a cast member mention that Perrin had ad-libbed the dialogue of the scene, adding an extra layer of spontaneity to his already powerful performance. There wasn’t a single weak link in his portrayal of the Scottish soldier, from his camaraderie with Banquo (portrayed by excellent understudy Kris Jacob) to the tenderness he shared with Van Buren’s Lady Macbeth. He was a villain I somehow found myself rooting for.
Molly Van Buren’s portrayal of Lady Macbeth was simply haunting. Her descent into madness, spurred on by her relentless manipulation of her husband, was striking and unforgettable. She gave justice to Shakespeare’s juxtaposition of feminine wits and sheer manipulation, and her growing unreliability was rewarding to watch. By the end, her final descent solidified my belief that I would one day see her name on marquees nationwide.
Aidan Anzaldúa’s Macduff was equally impressive—brave and courageous, balanced with complete brevity in the second act when he delivers the gut-wrenching line, “All my pretty ones?” His performance shattered my heart and tested my waterproof mascara. His honed vengeance and victory against Macbeth were rewarded with roaring cheers.
The trio of witches—Zaharah Jones, Sofia Bellocchio, and Aya Aberni—were absolutely phenomenal. Their presence on stage was as dense and eerie as the fog that rolled across the stage, especially due to their excellent costuming, making it impossible to look away. Passion radiated from every single performer, and I was honored to witness their craft. The production was captivating, and I immediately joined in giving a standing ovation.
The scenic design was delightful, with impressive woodwork covering the stage alongside a beautifully painted tree, immersing us into Macbeth’s world. Milky, transparent castle windows amidst quaint flora lent even more merit to this medieval land. Costuming was simply divine, with Lady Macbeth’s royal robes shimmering in the stage spotlights, lending the menacing lady unparalleled grace. The assassins were draped in menacing, murky colors, with fabric wrapped over their faces to promote health, as some were understudies.
After the performance, I was fortunate enough to chat with Ben Perrin, who had transitioned from the ambitious, fiery Thane of Glamis to a more subdued but warm figure. He was an excellent sport, answering my excited questions after a busy night. Perrin, a senior at the University of North Georgia, has appeared in numerous Gainesville Theatre Alliance productions, including Our Town, 1984, and The Lion, the Witch and the Wardrobe. After graduation, he plans to pursue an MFA in Acting for Stage and Screen—something I’m eager to see him pursue.
Q: What are some things you do to get in character?
A: This production, specifically, the director (Sheri Wilson) had a really strong PTSD angle that she wanted to work with. So, what made this production unique was researching that, and it really helped because it’s easy to paint Macbeth as a terrible villain with a lot of awful motivations, but that’s more of an explanation than an excuse. It does color the picture and help the audience understand where he’s coming from—less of a mustache-twirling villain.
Q: What were some of the biggest personal challenges you had to overcome for the performance?
A: The lines. Macbeth has 146 lines, and they’re not easy. For some of them, one line takes up an entire page. There’s a lot of repetition, a lot of working and working every day. Before every performance, I still do the lines over and over again to make sure I can do them. And eventually, I still mess up sometimes, but it’s about staying in character. It’s about implementing what I just established with our PTSD angle. Keeping all of that in my frame of reference, even when I mess up, it’s easy to drop back in because I’m working from that headspace.
Q: You were really charismatic in the battle scenes. How do you do that?
A: I love doing comedy. This isn’t necessarily a very lighthearted piece, but the director really wanted to implement some of those aspects of levity. We figured that he’s so far gone at that point, it would be an interesting time to implement some of those things that you might laugh at, even if it’s because you’re uncomfortable or because of what he’s doing. It’s a time that you can implement that.
Q: Was there specifically something to help put that levity in?
A: I like honing in on those comedic elements and just really working with my fellow actors. We really collaborated on those things, so it’s easier when you’re both going back and forth.
Peyton: Thank you for letting me put you on the spot, fantastic performance once again.
Ben: Not a problem, thank you so much!
After Perrin walked off to the embrace of friends and family, I ran into Aidan Anzaldúa, who was shed of Macduff’s vengeance and greeted me with an infectious smile. After being on stage for two and a half hours, he was still full of energy and excited to interview. Like Perrin, Anzaldúa is also a senior at the University of North Georgia and has starred in Proof, Hamlet, and The Lion, the Witch and the Wardrobe. After graduation, he plans to focus on his career in film and voice acting—both of which I’m excited to see him pursue.
Q: Ben and you have been friends for a while. Considering that, how did that change the dynamic of the fight scene between Macbeth and Macduff?
A: It’s really funny because during callbacks, we did the fight call together, and we were really gunning for these roles together! It’s just very fulfilling, honestly. In a weird way, I know I’m “killing my friend on stage,” but at the end of the day, we really love what we’re doing and have so much passion for it. That fight scene just feels so fluid, feels so good. After the fight, we go offstage and we’re like, “Hey, you good? Did we do anything too bad, or did we go too fast?”
Q: Macduff has the line, “I must feel it like a man,” which really struck me and other audience members. How did you get into the headspace for that scene?
A: So, actually, what I do is—well, first, me and Dylan (Garza), who plays King Malcolm, practice the scene once. We go over it during the witch scene when Lady Macduff and Fergus’s fight with the assassins happens. I’m backstage watching that to see them get killed. So, I see everything and can picture it in my head whenever I deliver that monologue—which is so beautiful. It’s one of my favorite pieces I’ve ever worked on. So, yeah!
Q: Any final thoughts on the experience?
A: Just that this whole process, this whole experience—everyone who’s worked on this has been so great. Honestly, I haven’t been in a show with this much power behind it, especially within the cast and crew. It’s a beautiful experience overall.
Peyton: Thank you so much, I really appreciate your time and willingness to chat!
Aiden: Absolutely! Please let me know if there’s anything else you need.
A special thank you to Lead Assistant Stage Manager Willow Canfield for providing me with a ticket to the performance and, once again, to Perrin and Anzaldúa for taking the time to speak with me after the show. (Interviews have been edited for clarity.)
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