Reviews: Macbeth at West Springfield High School
Written by Cara Ethington of Herndon High School
Awake, awake! West Springfield's Macbeth is packed with action, containing fight scenes and a lively ensemble, never having a dull moment.
Written by Shakespeare in the early 1600s, Macbeth was primarily written for King James I of England, and was set in Scotland as an homage to his heritage. This play also includes more musical cues and sound effects than other Shakespeare works, highlighting the uniquely supernatural nature of the show.
Following the titular character Macbeth, West Springfield's shortened version of the play examines his ambition after an ominous prophecy from five witches, and after covetous urging from his wife, becomes determined to fulfill the prophecy to his full potential, no matter the gruesome cost.
Since the play was cut so short, the Macbeths (Daniel Brunson and Afrahna Faruky) faced substantial challenges with showing their respective character arcs, but persevered, managing to portray their descents into madness with great success. The actors effectively used their monologues to portray their mental declines, Lady Macbeth reciting "out damned spot," and Macbeth delivering his "tomorrow" monologue. Together they made great use of the time they were given, and had commendable range as they shifted from calculated to crazy.
The witches (Ella Way, Arianna Wagner-Sist, Hailey Nowak, Caroline Bouma, and Mady Barravino) haunted the narrative with eerie movements, appearing frequently to drive characters to act on the prophecy, showing the numerous deaths through the set's cloth-covered windows. Also, appearing more than expected, the people of Scotland popped up at every turn, with a bonus scene to gossip about Macbeth's power before delivering his letter to Lady Macbeth. Additionally, the ensemble had a large fight sequence at the beginning, the dead littering the stage for several scenes after. The audience was left wondering when they would disappear, until the witches entered to reanimate them, effectively clearing the stage without the need for a blackout. By adding these ensembles to more scenes, Scotland felt increasingly cohesive, as the villagers and witches interacted with each other and the set.
Walking into the theatre, one couldn't help but be in awe of the multi-level unit set (construction led by Bella Bean, Kay Rodgers, and Clementine Schweigert), consisting of 425 handmade stones covering the stage. The set also included a trapdoor, the existence of which being a complete mystery until utilized by the Porter (Ben Harper), emphasizing the Porter's unpredictability, adding to his comedic timing and bold physicality. The trapdoor was also later used by the murderers (Adalynn Hagner, Madison Schiffer, and Chiara Cryan) to cover the stealth expected from secret doors, maximizing its general effectiveness. Costumes (led by Rowan Hurley), also caught the eye, with handmade chainmail and waterproofed cardboard chestplates giving the impression actors were truly at war. Coupled with the set, these technical pieces made an immersive Scotland.
Special effects (led by Rebecca Drobnis and Bella Bean) went above and beyond, creating rain for the final battle between Macbeth and Macduff, having their final fate hit them with every drop. Props (led by Kathryn King) also amazed, creating a stretcher to carry Lady Macbeth out after her suicide, increasing her death's impact and making it feel real, as opposed to her death being no more than a notion. Additionally, sound (led by Lane Kocsis and Lorelai Low) pieced the whole show together with original compositions from Lane Kocsis underscoring the play with suspenseful instrumentals. With all of these technical elements combined, Scotland became haunted, creating an ominous foreboding atmosphere.
West Springfield's Macbeth, from beginning to end was filled to the brim with life, but ultimately proved that death prevails. After all—power comes with a price.
Written by Chip Rumrill of The New School of Northern VA
West Springfield High School's production of Macbeth wasted no time pulling the audience into a world dripping with tension, violence, and eerie beauty. From the moment the first rumble of thunder echoed through the auditorium, it was clear this wasn't a typical high school Shakespeare performance. Instead, the cast and crew delivered a strikingly immersive interpretation filled with bold visuals, intricate technical elements, and committed performances that brought one of Shakespeare's darkest tragedies to life.
Written in the early 1600s, Macbeth follows a Scottish general whose ambition leads him into murder, tyranny, and madness. After hearing a prophecy from three witches that he will become king, Macbeth chooses a bloody path that destroys both himself and those around him. The story moves quickly, sliding from battlefield to banquet hall to haunting visions, and the production's fast pacing and layered staging made these shifts feel natural and visually compelling. The constant presence of the ensemble in every scene strengthened the atmosphere, giving the play a pulsing, ever-present sense of surveillance and dread.
Several actors grounded the show with standout performances. Daniel Brunson, as Macbeth, carried the weight of the role with intensity, especially in the final fight scene, where his desperation and unraveling were unmistakable. Afrahna Faruky brought a sharp, commanding presence to Lady Macbeth, shifting seamlessly from steely ambition to unraveling guilt. Arianna Wagner-Sist, as one of the witches, created some of the production's most memorable moments, especially when the witches played with the layered set pieces, creating an unsettling dynamic that shaped the entire tone. Tony Hillary, as Macduff, added emotional depth, and his fight choreography showcased impressive precision and physicality.
Technically, the production excelled. The lighting design (Sarah Buchholz, Maxine Talcott) blended warm earth tones with sharp, blood-red accents that highlighted the gothic concept described in the display boards. The use of real rain on stage added an unexpected cinematic quality and heightened the chaos of the climactic moments. Sound was equally effective: the drum patterns added intensity, and the orchestral underscoring (Lane Kocsis) gave scenes a spooky, atmospheric edge. Costume (Rowan Hurley, Liliana Aspuria, Asher Stites), set (Bella Bean), and special effects (Rebecca Drobnis) crews showed remarkable attention to detail, from hand-carved "stone" textures and moss to fabric swatches that deepened each character's look. The working trap door was especially impressive, offering dynamic entrances and exits that fit the supernatural world of the play.
Ultimately, West Springfield's Macbeth succeeded because every element: acting, design, movement, and atmosphere, worked toward the same vision. The show felt unified, thoughtful, and visually rich, with students clearly invested in their work. It was an ambitious production, but the cast and crew rose to the challenge, creating a memorable and haunting interpretation of Shakespeare's tragedy.