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MACBETH October 30 & 31 at 7:30pm, Philbin Studio Theatre, DeBartolo Performing Arts Center

Presented by Shakespeare at Notre Dame and the Ryan Family Endowment for Excellence for Community Programming

STARRING

TROELS HAGEN FINDSEN (left)

Lady Macbeth, Duncan, Banquo, Macduff, Witches, First Murderer, Seyton, the Scottish Army

PAUL O'MAHONY (right)

Macbeth, Malcolm, Ross, Witches, Doctor, Second Murderer, the English Army

Directed by Mike Tweddle

Music and Sound Design by Phill Ward

Set and Lighting Design by Claire Browne

Photography by Alex Brenner

Produced by Out of Chaos in association with Mac Birmingham, Oxford Playhouse & The Civic, Barnsley

Supported by Arts Council England

WHY TWO ACTORS?

To focus on the important binary relationships that make up this story: Macbeth / Lady Macbeth; Macbeth / Banquo; Macbeth / Macduff; Macduff / Malcolm. With just two actors we create extra intensity within these relationships, and it also helps us highlight the similarities and differences between these different pairs of characters.

Using only two actors we are required, by necessity, to directly include and involve the audience in the story. This is both theatrically exciting and playful, but also thematically useful. By making the audience feel part of the story, implicated in it, we can communicate that the decisions and actions of those in power affect us all.

The power of the creative constraint: by setting a limitation, we discover new creative solutions and ideas. It has led us to many playful and exciting theatrical devices: actors multi- rolling; using a small space to depict a big one; using shadow and silhouette to create a wider palette of characters; and actors speaking to ‘invisible’ characters who are not being played at that moment (this device helps underline the theme of ‘reality versus illusion’)

The beauty of seeing actors challenged and stretched. Playing multiple roles requires actors to use their whole vocal, physical and imaginative range. Just like a great concert pushes each musician and instrument to explore their full range.

The creative constraint makes it less easy, and less attractive, to be overly naturalistic. It helps us create a more transposed, theatrical world for the story, which is a more appropriate form for Shakespeare’s writing, and helps illuminate the truths and realities.

Associate artist Troels Hagen Findsen is a Danish actor, performer/creator, writer, director and musician. He’s created and performed in a number of works in Denmark and abroad. Troels is an associate artist of Out of Chaos in London, and has worked with such artists and companies as BBC Radio 4 Drama, Kitt Johnson’s X-Act, Rapid Eye, Erik Pold (Teater Momentum Ensemble Vol. 8) and The Figura Ensemble. Troels is a graduate of The Jacques Lecoq International Theatre School in Paris and has trained with members of The SITI Company and Complicité. He is on the artistic board of Forsøgsstation and the faculty of The Academy of Modern Circus (AMOC). In 2012 Troels received a research and work grant for his research in autofictive storytelling and performance from The Danish Art Foundation's Statens Kunstfonds Film- og Scenekunstudvalg.

Paul O’Mahony is artistic director of Out of Chaos, with whom he has devised, written, and performed multiple productions that have toured worldwide. Theatre credits include several seasons at The Orange Tree; Othello (RSC); The Taming of the Shrew (Plymouth Theatre Royal); Suppliants (BAC); Ice (ETO); Next Door (Out of Balanz); and Under the Hammerbeam Roof (ETO). With Richard Twyman, he translated and adapted three Greek tragedies to create The House of Atreus (Barbican). He is an associate producer at Jermyn Street Theatre, where his credits include All That Fall, St John’s Night, and Mother Adam. In 2015, Paul directed Much Ado About Nothing as Eminent Artist-in-Residence at the University of Wyoming. Paul has also toured with Actors From The London Stage in 2010 (A Midsummer Night’s Dream), 2014 (Much Ado About Nothing), and 2016 (Richard III).

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