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boy, you are determined
not
to faint or
not
to gasp. You can’t quite manage it but you do your best. You keep going. Your voice fades out but you master it. You even manage your little joke,
As sparrows eagle or the hare the lion
, and we cut to:
But I am faint, my gashes cry for help
. You make a final effort. You salute. Your hand falls to your side and we see the blood on it. You are helped off. Don’t
do
so much, dear boy.
Be
! I’ll take you through it afterward. On.”
    The King returned to his place of vantage. Ross made an excitable entrance with news of the defeat of the faithless Cawdor. The King established his execution and the bestowal of his title upon Macbeth. Peregrine had cut the scene down to its bones. He made a few notes and went straight on to the witches again.
    Now came the moment for the first witch and the long speech about the sailor to Aleppo gone. Then the dance. Legs bent. Faces distorted. Eyes. Tongues. It works, thought Peregrine. The drums and pipes, offstage, with retreating soldiers. Very ominous. Enter Macbeth and Banquo. Witches in a cluster, floor-level. Motionless.
    Macbeth was superb. The triumphant soldier — a glorious figure: ruddy, assured, glowing with his victories. Now, face to face with evil itself and hailed by the title. The hidden dream suddenly made actual; the unwholesome pretense, a tangible reality. He writes to his wife and sends the letter ahead of his own arrival.
    Enter the Lady. Maggie was still feeling her way with the part, but there were no doubts about her intention. She had deliberately faced the facts and made her choice, rejected the right and fiercely embraced the wrong. She now braces herself for the monstrous task of screwing her husband to the sticking-place. She knows very well that there was no substance in their previous talks although his morbidly vivid imagination gave them a nightmarish reality.
    The play hurried on: the festive air, Macbeth’s piper, servants scurrying with dishes of food and flagons of wine, and all the time Macbeth is crumbling. The great barbaric chieftain who should outshine all the rest makes dismal mistakes. He was not there to welcome the King, is not in his place now. His wife has to leave the feast, find him, tell him the King is asking for him, only to have him say he will proceed no further in the business and offer conventional reasons.
    There is no time to lose. For the last assault she lays the plot before her husband (and the audience) — quickly, urgently, and clearly. He catches fire, says he is “
settled
,” and commits himself to damnation.
    Seyton, with the claymore, appears in the shadows. He follows them off.
    The lights will be extinguished by a servant who leaves only the torch in a wall-bracket outside the King’s door. A pause, during which the stealthy sounds of the night will be established. Cricket and owl. The sudden crack of expanding wood. A ghostly figure, who would scarcely be seen when the lighting was established, appears on the upper level, enters the King’s room, waits there for a heartbeat or two, reenters, and slips away into the shadows… The Lady.
    An inner door at ground-level opens to admit Banquo and Fleance and the exquisite little night scene follows.
    Bruce Barrabell had a wonderful voice and he knew how to use it, which is not to say he turned on “the Voice Beautiful.” It was there, a gift of nature, an arrangement of vocal chords and resonators that stirred the blood in the listener. He looked up and one knew it was at the night sky where husbandry was practiced and the candles were all out. He felt the nervous, emaciated tension of the small hours and was startled by the appearance of Macbeth attended by the tall shadow of Seyton.
    He says he dreamed of the three weird sisters. Macbeth replies that he thinks not of them and then goes on, against every nerve in the listener’s body, to ask Banquo to have a little talk about the sisters when he has time. Talk? What