Macbeth (Toronto) [Poster]

Macbeth (Toronto)

Engaged by Melinda Howard & Kevmar Productions as Production Supervisor for the Toronto segment of the Broadway-bound production of Macbeth by William Shakespeare from March 8 to March 20th, 1988 for 16 performances at the O’Keefe Centre, Toronto prior to a Boston & New Haven tour as part of its transfer to the Mark Hellinger Theater on Broadway for a 12-week run from Apr 21, 1988 to Jun 26, 1988.

Produced by Barry & Fran Weissler and Garth Drabinsky (at the time, owner of Cineplex Odeon movie theater chain). Associate Produced by Melinda Howard.

Directed by Robin Phillips (but didn’t want his name on the program). Originally Directed by Kenneth Frankel. Later Directed by Zoe Caldwell. Set Designed by Daphne Dare. Original Set Designed by Tony Walton; Costume Design by Patricia Zipprodt; Lighting Design by Marc B. Weiss. Original Lighting Designed by Paul Gallo; Sound Design by Otts Munderloh; Hair Design by Patrik D. Moreton; Make-Up Design by Brad Scott and Assistant Lighting Design: Susan A. White.

Starring Glenda Jackson and Christopher Plummer with Randle Mell (Malcolm); Alan Scarfe / Stephen Russell (Macduff); Paul Shenar (Banquo); Richard H. Blake (Macduff’s Son); Gary Bradford (Ensemble); Robert Burke (Seyton); Michael Butler (Fleance); David DeBesse (Ensemble); Bill Ferrell (Ensemble); Bruce Gooch (Caithness); Michael Alan Gregory) (Ensemble); Jack Gwillim (Duncan); Jack Hannibal (Siward); Annette Helde (Witch); Thomas Hill (Lennox); Todd Jamieson (Ensemble); Cherry Jones (Lady Macduff); Philip Kerr (Ross); Conan McCarty (Donalbain); Tanny McDonald (Witch); Gordon Paddison (Ensemble); Thomas Schall (Murderer); Paul Soles (Doctor); Jeff Weiss (Witch / Porter / Murderer / Siward) and Gregory Zaragoza (Ensemble)

Standby: Sarah-Jane Gwillim (Lady Macbeth)

Understudies: Robert Burke (Banquo), Michael Butler (Siward), Bruce Gooch (Malcolm, Macduff), Jack Hannibal (Donalbain, Fleance, Macduff’s Son), Annette Helde (Lady Macduff), Thomas Hill (Duncan), Edwin J. McDonough (Seyton, Siward, Doctor, Messenger), Gordon Paddison (Ross, Caithness, Murderer), Marcell Rosenblatt (Witch, Gentlewoman), Paul Shenar (Macbeth) and Paul Soles (Lennox, Porter, Murderer)

General Manager: Alecia Parker and Kevmar Productions, Inc.; Production Supervisor: Toby Simkin; Company Manager: Michael Gill; Production Stage Manager: James Harker; Stage Manager: Amy Pell; Technical Supervisor: Theatre Services, Inc.; Special Effects by Bran Ferren; Casting: Pat McCorkle; General Press Representative: Solters / Roskin / Friedman, Inc.; Fight Captain: Thomas Schall; Assistant to the Fight Captain: Bruce Gooch; Advertising: Serino, Coyne & Nappi; Photographer: Henry Grossman and Robert C. Ragsdale and Fight direction by David S. Leong

As Production Supervisor, my job was largely focussed on making the new physical production fill out the cavernous stage of the O’Keefe, using the bulk of the set from Philly (with refurb) and some new builds with the local IA shop to prepare to tour on a pink card back across the border onward to Boston, and ultimately to downscale again for Broadway. The greatest thing to come from this experience was meeting the brilliant Martin Onrot, head of the O’Keefe Centre, who would later hire me a few times to help with future troubled shows.

Macbeth Toronto Hirshfeld CP GJ Macbeth Toronto Photo CP GJ Macbeth Toronto Press NY Macbeth Toronto Press NYT review Macbeth Toronto Press NYT Macbeth Toronto Press NY Playbill Macbeth Toronto Press troubled spell

Logo O'Keefe CentreO’Keefe Centre for the Performing Arts

O’Keefe Centre for the Performing ArtsThe O’Keefe Centre opened 1 Oct 1960 with Alexander H. Cohen’s production of the pre-Broadway premiere of Lerner and Loewe’s Camelot, starring Richard Burton, Julie Andrews and Robert Goulet. Camelot was followed by musical productions featuring such artists as Ethel Merman, Mickey Rooney, Angela Lansbury, Alfred Drake, Yul Brynner, Carol Channing, Pearl Bailey, Katharine Hepburn and Rudolf Nureyev.

Located on 2.5 acres on Toronto’s Front Street between Yonge and Scott streets at 1 Front Street East, the centre was built at a cost of $12 million and was owned until 1968 by the O’Keefe Brewing Co. In 1968 ownership was transferred to Metropolitan Toronto; in 1996 the facility was renamed the Hummingbird Centre after its sponsor, Hummingbird Communications. It became the Sony Centre for the Performing Arts in 2007 and on September 15, 2019, it was re-branded as Meridian Hall.

A modernist design, when it was built, it was the largest concert hall in North America, the fan-shaped theatre was built to seat 3,155 people on two levels facing an 18 metre wide proscenium. Its cavernous auditorium, approached through a lobby which, with its carpeting, chandeliers and monumental 100’x15’ mural by Toronto artist York Wilson of The Seven Lively Arts was a focal point and monument to Culture in its own right. Though intended as a multi-purpose entertainment centre for opera, ballet, drama, and touring productions, the theatre’s size suited it primarily for large-scale productions.

General Manager’s during my time were Charles (Charlie) S. Cutts [1981-1989], and Martin (Marty) H. Onrot [1990-1995].

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Some interesting backstory
to the exhausting metamorphosis
curse of Macbeth

When three witches deliver some surprising prophecies, Macbeth hatches a plan to murder the king and claim the throne for himself. Provoked by his wife and preoccupied with greed, Macbeth begins his tragic descent into madness.

Initial concepts of witches from outer space and men in kilts, all set in the future, eradicated the idea of the first director, Ken Russell, who quit the project before rehearsals began.

Kenneth Frankel, the Assistant Artistic Director of the Long Wharf Theater in New Haven was brought onboard as Director.

Original designer Tony Walton wanted a forest like romantic look in an open-spaced gargoyle environment with massive difficult to negotiate under stage lighting conditions jagged staircase, until Ms. Jackson nixed that by the end of the first tryout in Stamford, while Mr. Plummer twisted his knee and tore ligaments on a fake grassy rubberized floor covering.  Half a dozen other cast members similarly had ankle twists and torn groin ligaments from the same floor covering.  The Stamford run was sold out and got mixed reviews.  The 2nd tryout leg opened on January 26 in Baltimore for a 3 week run.

On its opening day in Baltimore, Kenneth Frankel found out that co-producer Garth Drabinsky (at the Cineplex Odeon) was bringing on Robin Phillips, the former artistic director of the Stratford Festival.

After the Baltimore opening at the Morris Mechanic Theatre, the producers met with the original creative team, along with Robin Phillips, where it was agreed for a new set, new lighting, new costumes would be developed with Robin Phillips as new Director.  Designer Daphne Dare (who has a history with Robin Phillips) was brought to Baltimore from the UK with a new set based on 3 gray walls, abstract pillars and steps.

During Baltimore run, the company were performing the discarded Kenneth Frankel production at night (internally referred to as Macbeth I) while rehearsing the new Robin Phillips production by day (referred to as Macbeth II) based on the new set design.  This grueling schedule caused many in the company to break down with the flu.

The Morris Mechanic Theatre run in Baltimore was followed by a 2 week run at the Benedum Center for the Performing Arts in Pittsburgh (where I came on board) — the first week Macbeth I was performed, the second week, with only 2 weeks rehearsal,  the massively different Macbeth II was performed, to which local critics raved.

By this time, Toronto O’Keefe Centre had amassed a box office record of $1 million in advance sales, often involving two-hour lineups, around a quarter of a million dollars in new physical staging of sets and costumes were implemented from the Pittsburgh run with refurbishment in Ontario.  The pressure was on to deliver the goods.

Sadly, by the time we opened Macbeth II in Toronto, the local Canadian critics were a little harsh, particularly on Canadian Christopher Plummer, seemingly due to a weird nationalistic pride in the Canadian press. During the run in Toronto, Christopher Plummer accidentally has a front tooth knocked out onstage by a fellow actor Thomas Schall (one of Macbeth’s hired murderers) during a scene change.

At the black tie opening night in Toronto, Robin Phillips was nowhere to be seen.  He had quit the project that day, citing contractual breaches.

Robin Phillips later came back to Boston to help with rehearsals at the Quality Inn Empire Ballroom (the ballroom was adjacent to construction of a restaurant with jackhammers and drilling each day).

However, making it even more interesting, now Barry and Fran Weissler had engaged Zoe Caldwell to take over as Director in Boston at the Colonial Theatre, where it had also sold out its run from March 22 to April 3.  As the company moved onto the Shubert Theatre in New Haven, which was also a complete sell out, April 5-10, they essentially re-blocked the show again, before a single week of previews in New York.

Opening night on Broadway at the Mark Hellinger Theater, with a very exhausted company, was my birthday on April 21, 1988.

Summary by the numbers

3 productions of 1 show, 4 directors, 3 Macduffs, 5 Banquos, 6 cast changes, 2 set designers, 2 lighting designers, 26 bouts of flu amongst 58 touring company members, plus assorted injuries — ‘the curse of Macbeth was real, and has haunted the play since it was written in 1606.

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