Her staging of the Scottish play opens with an arresting tableau. Lady Macbeth sits hunched over, her face hidden under a disheveled mane. As she rips out clumps of her hair, a portrait of Macbeth, her husband, starts spinning on a wall behind her — until an invisible knife seems to cut into the painting.
It’s an ominous way to position Lady Macbeth, as a shadow addition to the three witches who prophesy that Macbeth will be king. When the trio appears shortly afterward to deliver their message, a giant ring materializes above the empty stage. In true “Lord of the Rings” fashion, it then descends upon Macbeth (Noam Morgensztern), metaphorically anointing him even as recorded whispers of “murder” fill the Comédie-Française’s auditorium.
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At the Comédie-Française, Costa’s “Macbeth” edits the two dozen named characters down to only eight actors and leans heavily into religious symbolism. In “Hamlet,” Jatahy goes so far as to keep Ophelia alive. Far from going mad, Ophelia climbs down from the stage and exits through the auditorium after declaring: “I died all these years. This year, I won’t die.”
let us say before I go any further, that I forgive nobody. I wish them all an atrocious life in the fires of icy hell and in the execrable generations to come.
Barbara Schultz, left, as Rosalind and Ariane Mourier as Celia in “As You Like It” at the Théâtre de la Pépinière. Credit: François Fonty
“As You Like It” is rarely performed in France, in part because its brand of pastoral fantasy isn’t easy to transpose, but the translator Pierre-Alain Leleu has provided this production with a brilliantly witty French rendition. Bréban, for her part, has a gift for instilling an exhilarating sense of collective rhythm in her actors. There isn’t a dull moment in her Forest of Arden; the relationship between the cousins Rosalind (Barbara Schulz) and Celia (Ariane Mourier) is especially loving and zany.
The Tomb of Agamemnon by Louis-Jean Desprez. French, c. 1787. Black ink and gray washes, heightened with white gouache, on beige paper. In the collection of the Metropolitan Museum of Art.
Description from the Met:
Trained as an architect, the French artist Desprez was appointed by King Gustav III of Sweden in 1784 as the head stage designer for the Royal Opera in Stockholm. This drawing relates to the sets Desprez made for the Swedish opera Electra, which premiered at Drottningholm Castle on July 22, 1787. The scene of Agamemnon’s interment is in the prologue, which opens with Electra and Orestes plotting to avenge their father’s murder. Desprez’s rendering is cloaked in gloom, with torches and censers dramatically lighting the architecture from below.