By the pricking of my thumb… a wicked new year does this way come!

Not exactly what Shakespeare had in mind, but the dude had a lot going on with thumbs. I mean biting them started a whole street brawl in that other bloody tragedy, so why shouldn’t pricking them bring about the end of days? Seems par for the course with the country’s current climate. What better way to welcome the new year than with a production of the bloody and iconic, damned and cursed, wicked show… Macbeth. Presented as an Endangered Species Theatre Project production, straddling multiple weeks at two different venues, this treacherous tale feels like it’s at home after the year we’ve all just survived. Directed by Christine Mosere, this production gives a lot for the audience to chew, particularly when letting some of these centuries-old sentiments settle and resonate with life as we know it today.

Sitting through what should have been a final preview but equivocated itself to a rough-n-tumble rehearsal can show a person a lot about what a production’s intentions are, why it’s engaging, what it’s hopes are, and where it stands as an artistic experience. And the talent contained within the company is impressive. Some of the shimmering performances that really pop from the stage include Rain Pryor as King Duncan. The flawless makeup, vocal affectation and generalized mannerisms of Pryor’s performance are riveting; you truly feel as if she’s come to life as a King of yore, set down to walk amongst the chaos and carnage that is Macbeth. Her performance stands out so remarkably because the King Duncan character is featured so briefly in the production (Shakespeare had it in for everyone who’s head bore a crown of one sort or another!) But in such brief hour’s stage traffic, Pryor was beyond capable of impressing a lasting impact into the ether in he role. Whilst everyone feels ripely suited for their respective roles in this production, of what was witnessed, it was Pryor’s performance that stood out the most, largely because of how powerful it felt given how little time her character existed.

There’s guts and gore and plenty of death— as is expected with Macbeth or any Shakespearean Tragedy. Spoiler: Shakespearean Tragedies = Death in Spades. One of the most impressive ‘looks’ featured in the production is the special effects makeup on Banquo (Eric Jones) by the time he arrives at the banquet. This isn’t to discredit any of the other nifty ‘bloodies’ that appear, only to really to point a dagger at what stands out! The production team as a whole— (Director Christine Mosere, Production Stage Manager Alex-Marie Meyerriecks, Production Assistant Sam White, Lighting Designer Lindsey McCormick, Music/Sound Director Sean Eustis, Assistant Costume Designer Sophia Jester, Costume Designer Deanna Kinzie, Props Designer Liz Long, Dramaturg Claire Alston, Fight Director Matthew Bowerman, Intimacy Coordinator Julie Herber, Sound Technician Corey Brown)— has put a tremendous effort into the journey of this bloody and brutal tragedy (making a Shakespeare accessible to the masses, whilst conceptually allowing for interpretive ideas that are also easily transportable between two differing venues is no small feat!) and there are lots of things— not the least of which is the blocking and placing of The Weird Sisters— that are wholly praiseworthy.

The best part about observing a production in development is getting to speak with some of the performers (12 out of a cast of 17 isn’t too bad!) I spoke with a trio of performers to hear what their favorite lines were and these were the responses I got—

What’s your favorite line in the show?

Anne Raugh (Porter): “Every time I hear the ‘dagger speech’ and ‘the queen is dead’ speech, I remember Ian McKellen acting Shakespeare. I hear his voice every time and it’s not that they are particularly meaningful speeches for me? But I love the way that he interpreted those two speeches and it made me seek out Shakespeare. The British really know how to do Shakespeare. They help you hear the different music of that older language and the meaning of the words really comes through; I find it all fascinating.”

Daisy Bea (Witch2/Murderer/Caithness): “Macduff’s ‘from her womb was untimely ripped!’ I just love the way he (Matthew Bowerman) says it. He says it so good every time, it’s a stim for me now. I’ll just say it over and over on repeat.”

Jackson Peters-Mosere (Witch3/Murderer/Seyton/Macduff’s Son/Servant): “What you egg?— It’s fun. It’s said right before I die as young Macduff and I just love hearing it.”

Of course after picking the brains of a few about favorite lines, I had to delve into the cast’s brains about favorite scenes and moments—

Do you have a favorite moment or scene in this Macbeth?

Matthew Bowerman (Macduff): “Oh I have two. One is our (Macduff/Macbeth) final scene— because that scene has text but it’s also physical. So it gives us the chance to really physicalize that text with all the fighting and it’s a great opportunity to battle and be physical with the storyline. The second favorite moment for me is the discovery of Macduff’s— can I say that? What happens? Well, the discovery about the fate of his family. That whole buildup and through-line of that— and how Macduff has to navigate through all that, that’s definitely a favorite. It’s intense.”

Iley Torres (Nobleman/Soldier/Murderer): “Killing Lady Macduff. I actually smile while killing her. It’s fun.”

Remind me, to not cross you in an alley late at night! (Iley Torres was not the only person to state that murder-scenes were the peak of the production!)

Emir Pasanovic (Angus/Murderer): “I think murders are always fun. Every moment people are having fun with this, from the sexy moments to the murderous moments, they’re always fun. I love watching Lady Macbeth and Macbeth on stage as well because there’s such heartfelt emotion there.”

And one of the questions that surfaced, and truthfully I wished I’d asked more people because it’s always such a fun question is to ask people if they could write their own ticket, who would they play? Lady Macduff’s answer was my favorite (especially as she was the only one that I remembered to ask this to!) because of some fascinating blocking choices at the very, very end of the performance that made her answer curiously questionable in a delightfully amusing fashion.

Taking age, gender, ability to memorize lines, etc., out of the way, if you could play anyone, other than Lady Macduff in Macbeth who would you play?

Melissa Rogers Wintringham (Lady Macduff): “I can’t play Lady Macduff? Oh. Hmm. I think I would play my husband’s role. Because it’s emotional and he lives*. So there’s that! I like all of the emotional parts to his role.” (*the director’s stylized blocking and active-directions for Macduff in the final scene do call his ‘compatibility-with-life’ post end-of-days-blaze-battle-with-Macbeth’ into question.)

And while each and every member of the cast has differing responses to ‘how did you end up here’ Eric Jones’ was my favorite in that question-arena.

I do know you, Eric. So my question to you is— how the heck did you end up here?

Eric Jones (Banquo/Menteith): “I know, that seems to be everyone’s response and reaction whenever I play a man. Surprise! Hi! I’ve actually always wanted to do Macbeth. When I’m not buried under a pound of makeup, I’d like to think of myself as actual actor. This is the second Shakespeare show I’ve ever done and I’m really excited to get to do it.”

Of course these conversations with the dozen cast members who were available at the end of the Wednesday evening adventure were limited (timing factors only not for the lack of enthusiasm or interest from said cast to want to speak emphatically about their experiences!) so when it came to learning that there was a Father-Son duo in the cast (ironically not cast in any way where their characters were related!) one only wishes there had been more time to pick their respective brains! But when it comes to Dan (Macbeth) and Jack (Fleance, etc.) Franko, I did get to ask about character cross-sectionals for one and performing with family for the other!

Dan, where do you think you and this bloody, heinous, titular character come together?

Dan Franko (Macbeth): “There’s actually not a big cross-section between me and Macbeth, I think early on (director) Christine was saying that I’m too likeable. So I had to find the thread for being this bastard; I think I found it somewhere along the way. Ask my son.”

Jack! How cool is that that you’re in a show with your Dad— but wait, you’re not playing any direct relation— well he kills you at one point, right?

Jack Franko (Fleance/The Messenger/The Soldier/Young Siward): “Yeah, he does. When I’m Young Siward. But you wanted to know about doing a show with him? Well— everybody thinks he’s so nice but he’s the worst guy ever. Totally evil. Horrible. Nah, just kidding I love my Dad and it’s actually a lot of fun to get to do a show with him. I can see the real emotions behind what he’s doing and I love getting to see that and how he makes each one work. I think I get more of an idea of watching him act, because I’ve been watching him do it my whole life, so I get that idea of his process, of how he sees his character’s world, and what he thinks certain emotions are for Macbeth and how they’ll work and what that will look like. It’s really interesting to watch.”

If for no other reason, one should attend Macbeth to watch a father slay his son in the fifth act! Of course, that question got circulated around to at least two of the actors— why come out and see this show— though I’m sure all of the actors share similar sentiments.

So why should people come out and see Macbeth?

Greta Boeringer (Old Man/Old Siward): “We have a brilliant director who has profound ideas and who has thought long and hard about this production and has brought some wonderful new ideas to it.”

Sean Eustis (Captain/Doctor): “They should come to the Endangered Shakespeare— well, it feels like Endangered Shakespeare— Endangered Species Theatre Project’s production of Shakespeare’s Macbeth because this is a crew that has been giving 110% for the last two months. They have been working so hard. The beginning of the vision to the actual reality has been just such a journey that people should see this.”

And based on what was witnessed, concurrence abound! The talent is there; the vision is there. The players are there. And although the production is straddling two different venues and some very curious performance times (let’s go in the vein of positivity and say they’re creating more opportunities for artists and of those of the industry to enjoy it with their unique scheduling) this one Macbeth you should investigate during one of its ten performances— though do not hesitate to book tickets as several performances are already sold out!

Running Time: Approximately 2 hours and 10 minutes with one intermission

Macbeth plays through February 3^rd 2026 as an Endangered Species Theatre Project production with the following performance schedule:

At New Spire Arts Frederick— 15 W. Patrick Street in downtown historic Frederick, MD

Friday January 9^th 2026 at 7:30pm

Saturday January 10^th 2026 at 7:30pm

Sunday January 11^th 2026 at 3:00pm

Friday January 23^rd 2026 at 7:30pm

Saturday January 24^th 2026 at 7:30pm

Sunday January 25^th 2026 at 3:00pm

At the ESPLoft— 16 E. Patrick Street (second story) in downtown historic Frederick, MD

Saturday January 31^st 2026 at 3:00pm

Sunday February 1^st 2026 at 3:00pm

Monday February 2^nd 2026 at 7:30pm

Tuesday February 3^rd at 7:30pm