Whitney White Photo by Joan Marcus

It is neither a rock concert nor a play yet combines elements of both forms. Entering the theater, one views one electric and one grand piano, a full drum set, and many amplifying speakers on a multi-level stage. Before we see Whitney White, the multi-gifted force who imagined and then actualized the production, three witches, played by Holli' Conway, Phoenix Best, and Ciara Alyse Harris, jump into action as they introduce this occasion. Next are Man (Charlie Thurston) and Woman (White), who are Macbeth and Lady M, respectively.

With a running time of 80-85 minutes, this presentation alludes to that famous Scottish play with mentions, lines, and references to Shakespeare's verse. White has closely studied the tragedy and one garners through her notes that she has great respect for the playwright. It was when she was an MFA student at Brown University / Trinity Repertory that White began to craft the project. She draws on her versatility, smarts, and musical dexterity to boldly comment on implications and to recommend a more positive outcome for not only her character but for women, particularly Black women.

Does it help if you understand the plot of the original play? Yes, but it is not essential and you may fully appreciate all this production offers without mastery of the Shakespeare. Sure, it helps to realize, for example, that Macbeth and Lady Macbeth were power seekers and that ascension to the throne could not be achieved without doing away with King Duncan. Some of the lines are familiar, like "Out, damned spot!" Toward the conclusion, we hear "Tomorrow and tomorrow and tomorrow" and so forth.

Conductor/pianist Nygel D. Robinson leads dynamite drummer Barbara "Muzikaldunk" Duncan, guitarist Kenny Rosario-Pugh, and bass guitarist Bobby Etienne through a high voltage musical journey. White also sings while playing the piano. Nick Kourtney's sound delivery is audaciously impactful since this production is blazingly loud. Jeanette Oi-Suk Yew's creative, sometimes glaring lighting is strong. Watch for the brightest of reds. Those in the first five rows will see some fog. Costume designer Qween Jean is key and her choices are striking: Whitney White, for a stretch, is in a sparkly, sequined black jumpsuit. When she becomes Queen, she wears a resplendent golden robe and the Man (Thurston) appears in a vest adorned with shining, eye-catching designs. He first arrives on stage wearing black leather as in biker garb, so his latter costume is quite a switch. However atypical and something of a drippy sort he once was, Man is now royalty.

These witches ("Double, double, double, toil and trouble") rock whether they're on stage or making a trip into the audience. Man (sometimes playing accordion) is partially a supportive and partially a leading figure. Whitney White dominates with her voice and authority, being confident, assertive and, through her musical aptitude and flair, able to power Macbeth in Stride to reach full potential.

This enlivening happening includes blues, rock, pop, jazz and gospel in its repertoire. Even when Woman and Man seem to converse with one another, the drama is undeniable. Woman/Lady Macbeth is bold and her mission is to assert her value, presence and meaning. White will step out of character to offer opinions which declare and advocate a Black woman's rights. Woman says, "I want it all," which in this case combines love and ambition.

Macbeth in Stride is a musical extravaganza. While individual songs are not listed by title, there is no question that the rafter-raising renditions of "Lift Me Up" are singularly rousing. Nothing about the show, including proactive audience participation segments, is random or by chance. Each section feels brand new even as the production has been vigorously rehearsed. A viewer is privy to the world inhabited by these actors and creatives. The fourth metaphorical theatre wall does not exist. Every so often, performers bound down stairs at the foot of the theater and encourage viewers to become participants.

Whitney White wrote this magnetic piece with multiple goals and, with inspiring actors and instrumentalists sharing the stage, she realizes her aspirations. Theatregoers are fortunate to join this celebratory event, one which carries its undeniable impact beyond the final curtain.

Macbeth in Stride runs through December 14, 2024, at Yale Repertory Theatre, University Theatre, 222 York St., New Haven CT. For tickets and information, please call 203-432-1234 or visit yalerep.org.