National Theatre of Kosovo, premiere 1st October 2024
The performance opens with three witches hissing their prophecies. Wrapped in silver outfits, they chant about looming tragedy while thumping on their chests and drumming a heartbeat rhythm on the ground. Enter the Scottish King Duncan, with news of victory on the battlefield, followed by Macbeth (Adrian Morina) and Banquo (Shkëlzen Veseli) rejoicing at the news of Macbeth’s ascension, as they try to decipher the witches’ prophecy. It is clear Macbeth and Banquo are old friends who cherish each other’s company, so they ignore the prophecies and celebrate instead, ignorant of how quickly things are about to change.
Adrian Morina excels as Macbeth, switching between his lucid and delirious dispositions with ease. Well known for both his comedic and dramatic skills, Morina captures the character’s complexity, bringing an intense physicality to the role. His performance is complemented by Gresa Pallaska as Lady Macbeth, her ambitions driving Macbeth towards violence. She lays the groundwork with impeccable diplomacy and the fierce determination of a woman who loves passionately, yet the chemistry between the couple is also, at times, sensuous and tender. Pallaska is a performer of great charm and skill, conveying her character’s superiority both in her stance and countenance, and her presence is sharply felt even when the focus is not on her.
It is impressive to witness how Lady Macbeth appeals to her husband’s deepest instincts and drives him to act on them. Regardless of whether he is doing it out of love for her or because he is truly willing to kill for power, he still loses his peace of mind in the process. Both husband and wife oscillate between sanity and insanity. Having murdered King Duncan and ranted about killing his sons, Macbeth lets blue blood spill from a transparent container to symbolize the ending of a royal line. He then fishes out a human skull from the container, and delivers a feverish monologue about his right to be king. It’s a very visually effective stunt by the play’s director Qëndrim Rijani.
Macbeth’s delirious wrath does not spare his former friend Banquo or the King’s loyal follower, Macduff. After his murder, it is thrilling to see Shkëlzen Veseli bring Banquo’s ghost back, haunting Macbeth with a commanding voice. It is equally emotional to observe Shkumbin Istrefi’s Macduff as he is overtaken with agony over the loss of his family at the hands of the man he served faithfully. All the cast are strong. The seasoned actor Luan Jaha delivers a solid King Duncan. Ilire Vinca, as Lady Macduff, depicts a mother ferociously protecting her family and her vocals are chilling as she sings while watching her son (Yzeir Meha) being drowned in a pool of blood by Macbeth’s henchmen. The witches – Semira Latifi, Flaka Latifi, and Fiona Abdullahu – bring a real versatility to the role, whether they are casting spells or dancing.
Macbeth, National Theatre of Kosovo. Photos by Mrinë Godanca.
Director Qëndrim Rijani excels at merging the dramatic with the operatic and music plays a big role in Rijani’s production. Composer Trimor Dhomi, with his original score and lyrics derived from the original translation of Macbeth by Fan S. Noli, brings a quasi-medieval-yet-contemporary vibe to the entire production. .
Rijani, known for his work on both Albanian and international plays, as well as in opera, makes Macbeth feel both relevant and relatable. It’s not a musical, rather a daring mixture of Shakespeare with some musical elements.
The design mixes vivid colours with mesmerizing visual effects. Large mirrors placed around Valentin Sfetozarev’s set create the feeling that viewers are part of the play, enhancing the idea that, as Shakespeare wrote, “the world’s a stage, and all the men and women merely players”. At one point, projection on the walls show the years shifting from the early 1600s, when the play was first performed, to the 1900s, the scenario transposing itself to current times, like a warning from the past: ‘thirst for power may cause madness’. The almost constant spillage of blood stops only when Macbeth gives up, for lack of an heir. Macduff kills Macbeth while feeding him the shredded heart of a soldier, a final gift to his dead wife.
Maca Papuçevska’s lush costumes combine medieval elements with modern-day touches. The gold cloaks and studded jackets worn by the men spread ominous vibes of impending doom. Macbeth wears a glorious uniform at the beginning but sheds his clothes towards the end. The blood-washed dress of Lady Macbeth in the final scene looks like a scarlet river cascading down her body, as she holds her unborn child, determined to end her life, while her red gloves at the beginning of the play give due warning of what is to come.
Despite its modern elements this is essentially a classical production, one that acts as a stark reminder of how guilt can turn into paranoia and how this, in turn, can escalate, until ultimately ‘what is done cannot be undone’. The visual effects of blackbirds swarming the air around the theatre are an apt omen for what follows.
This is a lavish, passion-packed performance featuring an excellent cast of a classical play with present-day undertones, which shows all too keenly how history repeats itself.
Credits:
Director: Qëndrim Rijani//Dramaturg: Zoga Çeta Çitaku//Set design: Valentin Sfetozarev//Costumes: Maca Papuçevska//Composer: Trimor Dhomi//Orchestra: Kosovo Philharmonic// Choreography: Artan Ibërshimi //Assistant Director: Erleta Regjepi//Video: Rehan Abdulovski //Audio operator: Arben Aliu// Video Operator: Bujar Bekteshi
Cast: Adrian Morina, Gresa Pallaska, Shkëlzen Veseli, Luan Jaha, Shkumbin Istrefi, Ilire Vinca, Faris Berisha, Ermal Sadiku,Tristan Halilaj, Semira Latifi, Flaka Latifi, Fiona Abdullahu, Basri Lushtaku, Shpejtim Kastrati, Ismet Azemi, Yzeir Meha
Further reading: Interview with Adrian Morina: “I hope Kosovo can become more open-minded towards artists.”
Bora Shpuza is a literary translator and freelance art reviewer based in Prishtina,
