Macbeth School Tour  hamlet_school_tour_icon

April 2 – 27, 2018

“The play is always the thing at The Philadelphia Shakespeare Theatre!” — The Huffington Post

 

Bring one of Shakespeare’s most famous tragedies right into your school! Back by popular demand, our All the World’s A Stage School Tour program returns this spring with a professional production of Macbeth. Your students will be captivated by this 90-minute adaptation of the classic play presented by our professional actors and directed by our Artistic/Executive Director, Carmen Khan. The production is followed by a post-performance discussion with the actors, and includes a comprehensive study guide designed by our Artistic Director and Education Director.

Our Macbeth School Tour is designed to be performed in school common spaces like gyms, cafeterias, and auditoriums. Cast and crew need 45 minutes before and 30 minutes after the performance in the space, and a secured room where cast and crew may leave belongings and valuables.

Performance times are available in the morning or afternoon. The tour runs Monday through Friday, April 2 – 27, 2018.

Pricing

1 Tour – $1500
Each Additional Tour – $1200

Audience: 150 max per performance — That’s only $8 – $10 per student for a professional production of Macbeth!

Dates are filling fast! To book your school, click here or contact our Education Director, Rebekah Wilcox, at 215-496-9722 ext 101 or email at rebekah@phillyshakespeare.org.

SOMETHING’S BREWING: Three “weird sisters” are conjuring up a spell and make a plan to meet with Macbeth, the Thane of Glamis. (“Weird,” in Shakespeare’s day, meant “fateful”). Macbeth and Banquo meet the three witches. They prophesy that Macbeth will be king and Thane of Cawdor and that Banquo’s children shall be kings.

THE PROPHESY: Duncan, the king of Scotland, receives reports that Macbeth and Banquo have been victorious in battle against Norway and the Scottish rebels. He also learns that the Thane of Cawdor, whom Duncan trusted to the utmost, was a traitor. Duncan orders Cawdor’s execution and sends his cousin Rosse to inform Macbeth he is now Thane of Cawdor, as well as Glamis.

HEIR TO THE THRONE: Macbeth meets Duncan who thanks him. Duncan then names his son Malcolm as his heir to the throne. Macbeth in an aside reveals that he has already had murderous thoughts before even meeting the witches. Duncan announces that he will visit Macbeth’s castle at Inverness that night.

MAKING OF A MURDER: Lady Macbeth, at Inverness, reads a letter from Macbeth, telling her about the witches’ prophecy. She wants Macbeth to kill Duncan when he visits, but she fears he will not have the courage. As soon as Macbeth arrives, she pressures him forcefully to kill Duncan. Macbeth goes back and forth about whether he will kill Duncan, because he is afraid of being caught. Lady Macbeth comes up with a plan to drug Duncan’s guards so that Macbeth will have easy access for the murder, and then will be able to blame the guards. Macbeth is thrilled by the idea and agrees to the murder.

BLOODY DAGGER: In the middle of the night, on his way to murder Duncan, Macbeth sees a vision of a dagger hovering in the air in front of him. He believes it is going in the direction he was going to kill Duncan. He goes into Duncan’s room, then emerges and reports to Lady Macbeth that he’s done it. But he still has the bloody daggers in his hands. Lady Macbeth takes the daggers, goes into Duncan’s room, puts the daggers on the drugged guards and smears them with blood. In the morning, Macduff discovers the murdered king. Macbeth pretends to be shocked and goes to see for himself. While there, he murders the guards before they wake so they cannot reveal anything.

ON THE RUN: Malcolm and Donalbain see quickly they are in a dangerous situation and fear they will be blamed for their father’s death. Malcolm flees to England and Donalbain to Ireland.

NEWLY CROWNED: Macbeth becomes king, but he is not satisfied that he is completely safe and begins to worry about Banquo’s children becoming kings as the witches had predicted. He orders the murder of Banquo and his son Fleance. Banquo is murdered but Fleance escapes.

HAUNTED: At a banquet Macbeth sees the ghost of Banquo, but none of the other guests do. As Macbeth attempts to fight the invisible ghost, the banquet dissolves into chaos and Lady Macbeth dismisses all the guests. Macbeth decides to go and visit the witches. He implies to Lady Macbeth there will be more violence. When Macbeth visits the witches he asks for more information about the future. They answer by conjuring apparitions for him to see. They assure him that no man born of a woman can harm him. They also say that he is safe from attack unless a time comes when he can see the forest of Birnam move towards his castle. Macbeth feels assured by all of this.

THE BLOODBATH: Macbeth learns that Macduff has fled to England to join Malcolm’s army, and views this as treason. He orders the slaughter of Macduffs’ entire family. Macduff goes to England to persuade Malcolm to return to Scotland and lead an army against Macbeth. Malcolm, fearing that Macduff is secretly working on Macbeth’s behalf, tests Macduff’s loyalty. Macduff passes the “test”. Macduff then hears the news of his family’s slaughter. He swears to kill Macbeth.

FACING FATE: Lady Macbeth goes mad because of the guilt of the murder, and kills herself. Macbeth is alone and must face his fate. Macduff and Macbeth fight, and Macduff kills Macbeth. Malcolm becomes the new king of Scotland.

Carmen Khan — Director

Carmen Khan is the Founder and Artistic/Executive Director of The Philadelphia Shakespeare Theatre. Carmen holds a Bachelor of Education from The University of London, and an MFA in Acting from The Catholic University of America. For seven years she was a company member of the esteemed Hip Pocket Theatre in Fort Worth, TX, where she worked as an actor, dancer, and mime in over 26 productions. Khan was the co-founder of The Laughing Stock Theatre, an all-comedy theatre, and Artistic Director of The Red Heel Theatre, which was devoted to the little-known classics of the Jacobean era, both in Philadelphia.  She has produced over fifty Shakespeare plays and directed over twenty.


WEB_DanielBarland.jpgDaniel Barland

Malcolm / Ensemble

Daniel is thrilled to be making his debut with The Philadelphia Shakespeare Theatre. Daniel is a Temple University graduate and Advanced Actor Combatant in the Society of American Fight Directors. This past summer in Williamsburg, VA, Daniel performed in Busch Garden’s Three Musketeers stunt show “All For One” as a principle fighter and stunt crew. In Philadelphia, Daniel was most recently seen in the InterAct production of Broken Stones (Tariq/Dan). Other Philadelphia credits include The Enchanted (Ghost), The Odyssey (Antinous), The Matchmaker (Ambrose Kemper), Macbeth (Murderer/Principle Fighter), Tale of the Phantom Ship (Cpt. Culliford). On-screen in Philadelphia: The Great Experiment (stunt crew). Daniel has also performed in the award-winning outdoor drama Tecumseh! (Kothee) as a principle fighter, and in Macbeth (Doctor). Daniel would like to thank his friends and family for their unwavering support.


WEB_BenjaminCurns.jpgBenjamin Curns

Macbeth

This is Benjamin’s debut with The Philadelphia Shakespeare Theatre. New York Stage credits include: A Midsummer Night’s Dream (American Globe Theatre); The Taming of the Shrew and Henry IV (Theatre Row); Henry V (Inwood Shakespeare Festival); All the Little People (La Tea.); Richard III (Clemente Soto Velez). Regional Stage credits include: The Parchman Hour (Virginia Stage Company); Intimate Apparel (Broadway World Nomination: Best Featured Actor) and Twelfth Night (Actors’ Shakespeare Company); King John (Justin Award: Best Actor), All’s Well That Ends Well (Falstaff Award Nomination: Best Supporting Actor), and the title roles in Hamlet Q1, Richard III, & Henry VIII (American Shakespeare Center). Film/TV credits: Quantico (ABC); Batman: Master of Fear (Red Fist Productions); The Jew of Malta, The Summoning of Everyman (Grandfather Films). Training: MFA, UNC Chapel Hill; Society of American Fight Directors; American Academy of Dramatic Art.


WEB_KyleFennie.jpgKyle Fennie

Macduff / Ensemble
Set Designer

Kyle earned his MA from Villanova University, and his BFA from the University of the Arts in Philadelphia. Previous roles include: The Roses in June (Colin Davies); The Lyons (Curtis); A Streetcar Named Desire (Stanley); Translations (Doalty); A Wonderful Noise (Chester, Pettigrew, and the Conductor); Macbeth (Macbeth); The Threepenny Opera (Smith); Michael and Edie (Ben); Big Love (Constantine); Fallen Angels (Willie); Shanley’s Doubt (Father Flynn); The Mousetrap (Sergeant Trotter u/s). Fight Choreography credits include: Romeo and Juliet, West Side Story, Macbeth, Beauty and the Beast, Crazy For You, Oklahoma, and others.


WEB_JoshKachnycz_Headshot.jpgJosh Kachnycz

Banquo / Ensemble
Fight Director

Josh has appeared in numerous productions with The Philadelphia Shakespeare Theatre, including: Hamlet, Twelfth Night, Macbeth, A Midsummer Night’s Dream, Taming of the Shrew, and Love’s Labor’s Lost. He also works as a Fight Director in the Philadelphia area, and has done combat and stunts for numerous productions including the Pennsylvania Renaissance Faire. Josh also works as a Teaching Artist, instructing students in the Philadelphia area in Text Interpretation, Performance, and Stage Combat. He is a graduate from Temple University’s BA Theatre program.


WEB_WilliamLeDent_Headshot.jpgWilliam LeDent

Duncan / Ensemble

(SAG-AFTRA) THEATRE: The Philadelphia Shakespeare Theatre: Hamlet (Claudius), Macbeth (Macduff), Twelfth Night (Sir Toby Belch), The Taming of the Shrew (Tranio); Shakespeare Theatre Company: King Lear (Curan & Knight);  Henry V (Bates & Grey); Much Ado About Nothing (Don Pedro). Washington National Opera/Kennedy Center: Don Giovanni. FILM: King Lear as Duke of Cornwall. STUNT/FIGHT CHOREOGRAPHER: King Lear film. A Comedy of Errors. TEACHING: Adjunct professor of acting and stage combat at Stevenson University. TRAINING: MFA from George Washington University’s Academy for Classical Acting. BFA from UCLA in Acting.


WEB_SarahStryker.jpgSarah Stryker

Lady Macbeth / Ensemble

Sarah is delighted and humbled to be working on this exciting production. Favorite past credits include: The Taming of the Shrew, Twelfth Night, and Macbeth with The Philadelphia Shakespeare Theatre; King John with Revolution Shakespeare; Much Ado About Nothing and The Winter’s Tale with Shakespeare ’70; Harold Pinter’s Betrayal with Langhorne Players; and Neil Simon’s Chapter Two with Pegasus Theatre Project. She trained at the Stella Adler School of Acting in New York and at Dell’Arte International in California. An avid landscape painter, Sarah’s latest project documents New Jersey’s disappearing farm land.


Production Staff

Carmen Khan
Director

Kyle Fennie
Set Designer

Colleen Hughes
Choreographer

Josh Kachnycz
Fight Director

Rae Labadie
Stage Manager

Stephen Tornetta
Costume Designer

Hannah van Sciver
Sound Designer


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