‘Macbeth’ Makes Move to Toltec Empire

Why set “Macbeth” in the Toltec empire, an Indian civilization that dominated parts of Central America from the 11th to the 13th centuries? Don’t look for an answer in Will & Company’s irredeemably bad version of the Scottish play, which, indeed is set there.

For one thing, the actors look ridiculous. They are dressed in what is essentially adult diapers with flaps, exposing the wrinkles and folds that the flesh is heir to. There’s a lot of stooping and kneeling on the ground, and worshiping of swords. There is war paint. This is one goofy-looking production, playing through the end of the month at the Los Angeles Theatre Center.

Directed by Ron Campbell and adapted by Colin Cox, who also plays Macbeth, the play now includes mentions of ancient Mexico. Malcolm and Macduff flee not to gracious England but to “gracious Chichen Itza” (which a map in the program shows to be on the Gulf of Mexico). But when Malcolm emerges from exile, he’s wearing what looks like a Spanish bloomer ensemble, referring probably to the Spanish conquest several centuries in the future. Purists, however, will be happy to learn that some Scottish references are left in, so that the Birnan wood still comes to Dunsinane.

This viewer at least remained confused by religious references. When Malcolm returns to upend the evil rule of the Macbeths, he makes the sign of the cross over the kneeling Toltans and tears with disgust a piece of Lady Macbeth’s presumably pagan jewelry from the neck of someone named Lulach (according to the program, “a son of Lady Macbeth”). Yet throughout the play Macbeth has been sporting a huge white cross on a tire chain around his neck, as well as another cross drawn on his arm. If Lady Macbeth and her husband had an interfaith marriage, no one said anything about it.

Campbell and Cox may very well have ideas about religion and ancient warrior cultures and how they reflect the play’s dark themes about the temporary triumph of evil. But they have not come close to making their ideas clear here.

Tramping on the verse is de rigeur. Banquo (Eric Steven Mills) rushes through his lines while rolling his eyes. Macbeth seems to be intoning his lines, quickly, to himself. There is a lot of grunting and fierce overacting. As Lady Macbeth, Robie at least speaks out and has an aura of danger. But she performs her sleepwalking speech in a torrent of agony on the floor--first face down, then on her back, legs spread. She looks as if she’s auditioning for “Sybil.” Cox outdoes her bad acting with his “She should have died hereafter” speech. He begins, back to audience, crouching, and then ever so slowly turns around to fix the audience with a glassy stare, with which we are already quite familiar.

There may be some semblance of “Macbeth” here for people who have never seen the play--like the schoolchildren who attend the matinees provided by Will & Company with the support of the city’s Cultural Affairs Department. No doubt the children will enjoy the moment when Macduff (Benito Martinez) decapitates Macbeth, with appropriate gore. By the end they should be truly able to appreciate the most famous of Macbeth’s final lines, the one about sound and fury, signifying nothing.

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* “Macbeth,” Los Angeles Theatre Center, Tom Bradley Theatre, 514 S. Spring St., Thursdays-Saturdays, 8 p.m., school performances, Wednesdays-Fridays, 10:30 a.m. Ends March 1. $12-$15. (213) 485-1681. Running time: 2 hours, 20 minutes.

Colin Cox: Macbeth

Wendy Robie: Lady Macbeth

Benito Martinez: Macduff

Nell Buttolph: Lady Macduff, Young Siward

Eric Steven Mills: Banquo

Steven Matt: Duncan, a priest

Alice Cunningham: Wayward

April Crowell: Wayward

Tom Allard: Wayward

Vajdon Sohaili: Malcolm

Christina Concetta: Hecate

Terry Diab: Rosse

Robert Hancock: Porter

Beattie Pompa: Calix, Second Murderer

Sam Robinson: Autumba

Jose Urbina: Mitlan, First Murderer

Andrew Le Bard: Fleance, son of Banquo, Macduff’s son

Newton Kaneshiro: Lulach, son of Lady Macbeth

Rafael Cardenas: Don Mendoza

Ensemble: Melina Bielefelt, Sarah Bredell

A Will & Company production in association with the City of Los Angeles Cultural Affairs Department. Adapted by Colin Cox from the play by William Shakespeare. Directed by Ron Campbell. Sets La Wrence Curtis and David Scaglione. Lights Yuki Uehara. Sound and music Brian Howe. Costumes Brenda Wyatt. Makeup David Rockello. Fight choreography Tony Carreiro. Stage manager Amanda Dragon.