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Also this issue: First Friday Focus "Intricacy" at ICA Twang Grupo Afro Boricua Cornford and Cross: Ten Photographic Portraits from 10 Cose Fan Tutte BodyVox Urban Tap |
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March 6-12, 2003
theater
D'oh! Full of scorpions is my mind, dear wife! Well, something like that. This one gets an extra point for novelty. Toronto-based actor and writer Rick Miller had the clever idea of an unusual pairing: Shakespeare's Macbeth starring Homer Simpson. We're not likely to associate Simpson, that denizen of The Irish Restaurant -- McDonald's -- with The Scottish Play. Nor do other Springfieldians seem like natural casting.
But then, productions of Macbeth are famously disaster-prone. Why not court another?
Forsooth! Sometimes triumph is pulled from tragedy. Homer, Marge, Flanders, actor Troy McClure and the rest -- more than 50 Simpsons regulars and guests -- are as delectable a group of classical thespians as I've seen in many a year. The currently troubled Royal Shakespeare Company could learn a trick or three from Mr. Miller.
For it is he who (with a little ghostly assistance) wrote MacHomer, and Miller also impersonates every character. What an energetic and talented fellow he is! Some of the voices (Homer, Marge and Krusty) are downright amazing. The rest are at least honorable representations, and more important, Miller slides in and out of them with a limbo dancer's grace.
Like all good auteurs, Miller takes risks. Surely nobody would think to have Marge -- the soul of sane benevolence -- play Shakespeare's hound from hell, Lady M. Yet the casting against type pays off. "Out, damned spot!" she cries, and we can almost see the imaginary laundry detergent she's invoking. Bart as Fleance, Ned as Banquo, Smithers' Malcolm, the Duncan of C. Montgomery Burns -- they're pitch-perfect.
Lest you think it's all about the voices, let me assure you that Miller also has the other bases covered. MacHomer makes use of animation, a live-action cam, even finger puppets. But in the end, it's all Miller, who uses his face and body with the same adroitness as his voice. And clocking in at just under an hour, the show is precisely as long as it should be -- we leave wanting more, but we also know that Miller is wise to stop when he does.
Alack, here's the rub. MacHomer has left town for the time being -- but given the cheering, capacity crowd at Penn's usually sedate Zellerbach Theatre, we don't need the Weird Sisters to predict a future return engagement. By all means, don't miss Miller and his friends when the show comes back to town!
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