Performance Anxiety Although Talent Is High, Acting in ëMacbethí Disappointing by Lisa Troshinsky The Shakespeare Theatreís season opener of "Macbeth," featuring notorious thespian greats Kelly McGillis and Patrick Page as the tragic and violent couple, doesnít live up to the actorsí high billing or to Shakespeareís famous and wonderful tale of angst. During the production, directed by Shakespeare Theatre Artistic Director Michael Kahn, the audience doesnít experience the gut-wrenching anguish that it hopes for when attending one of Shakespeareís greatest tragedies. Why does the audience merely observe this production, when they should be feeling and living it? It certainly canít be because of the brilliant interpretation by Broadway legend Page, who makes his Shakespeare Theatre debut. As the guilt-ridden yet murderous Macbeth, Page reinvents the notion of insanity without being stereotypical as he moves from genuine laughs to manic smiles to crazed hallucinations to breakdowns. Page and McGillis create a satisfyingly passionate relationshipónot unrelated to the actorsí physical beautyówhich lends believability to what motivates them as individuals t o be spurned on by each other to commit one heinous deed after another. However, McGillis, who has successfully appeared in numerous productions at the Shakespeare Theatre, gives a surprisingly disappointing performance. She merely skims the surface of Lady Macbethís horrifying psyche. McGillis wails relentlessly without showing us how she got to this agitated state, so much so that the effect is unmoving and her character becomes unsympathetic. To be sure, the play moves so swiftly from one scene to the next, itís rhythm so furious and percussive, that it must be a challenge to develop any character before one scene ends and another commences. Plus, the play begins with the Macbeths already in such a frenzied lust for power that the audience is apt to wonder, "What in their pasts could have made them become such evil people?" But after all, character building should be the problem for the actor, not the audienceís concern. The other cast of characters, including Andrew Long as Macduff, Glenn Fleshler as Banquo, and Matt Seidman as Seyton, merely seem to make appearances to murder or be murdered and are not developed much in the script. The blandness of the secondary characters is only broken by the infamous witches who prophesize upon Macbethís ascent to the throneóplayed by long-time Washington, D.C., thespian Sarah Marshall, known for her quirky and engaging interpretations, as well as Naomi Jacobson and Jewell Robinson. The most striking and successful aspects of this production is the ingenuity and haunting beauty of John Coyneís set and Kahnís efficient staging. A modernesque, simple steel-and-Plexiglas cube with translucent sliding walls serves as the ever-changing set that alternates from a witchesí haven to the Macbethsí bedroom to scenes of other murderous crimes. Eerie, bare-limbed trees line the outside of the cube. The floor is made of white tile, and a white, ominous staircase leads up to Macduffís bedroom, where his murder is played off stage. The scene changes are swift, clean and impressive, such as when the Macbeths are whisked off stage the moment after they are coroneted, which lends a sarcastic but creepy foreshadowing to the coupleís rapid character demises. In the playís first scene, Paul Dennhardtís fight direction is flawless. The witchesí incantations are interrupted suddenly and intermittently by dramatic lighting (Michael Chybowskiís) and sound changes (Martin Desjardinsís), which accompany the choreographed war making. Together, the components compose a dance of sorts. Even so, this level of professionalism in staging, sets, lighting and sound by the Shakespeare Theatre is something a frequent patron has come to expect. Unfortunately, in this instance, it only serves to show up the productionís more glaring flaws. "Macbeth" runs through Oct. 24 at the Shakespeare Theatre, 450 7th St., NW. Tickets are $12.75 to $68. For more information, please call (202) 547-1122 or visit www.shakespearetheatre.org. Lisa Troshinsky is the theater reviewer for The Washington Diplomat.