For Thanksgiving weekend, Roust Theatre Company will offer a $10 Holiday Ticket Special for its new, critically acclaimed production of William Shakespeare's MACBETH -- a bloody, unrelenting drama which looks so deeply at the tortured human psyche that it will be an intense and visceral R-rated ride from start to finish, containing violence, nudity, and strong sexual content -- at Theater 3 (311 West 43rd Street) in Manhattan.
A limited number of $10 tickets will be available for three performances only: Wednesday, November 26 at 8pm; Friday, November 28 at 8pm and Saturday, November 29 at 8pm. $10 tickets are available at the box office only, 30 minutes prior to curtain, and subject to availability. For additional information, visit www.rousttc.com.
Directed by James Phillip Gates, MACBETH opened to rave reviews: "One of the most visually and aurally gorgeous pieces of theatre I've ever seen," wrote Danny Bowes in his review on nytheatre.com. For AfterElton.com, Michael Portantiere raved, "You'll probably never find a sexier, more violent or shorter production of MACBETH than the one that's now being mounted by the Roust Theater Company. And in his Backstage review, Ron Cohen called Roust Theater Company's MACBETH "a highly watchable.... riveting production."
Roust Theatre Company's contemporary adaptation of Shakespeare's classic is set against the backdrop of a dangerous, sinister underworld -- where power, money, and suspicion are all mixed in a boiling pot with lust, vice and murder. The production costars Kristin Barnett, Duane Boutte, Craig Braun, Melissa Center, Tracy Hostmyer, Emily Hubelbank, Nick Lawson, Tom Macy, Hugh Martin, Tyler Moss, Michael Peterson, Andrew Pifko, Isaac Woofter, and Trey Zeigler. It has set design by Casey Smith, lighting design by Travis Sawyer, sound design by Michael Bogden, and costume design by Heather Klar.
"Despite its references to war and its relevance to current world events, in particular the ravaging effects that sustained killing (often unjustified) can have on a soldier's mind, I wanted to shift focus away from that slightly," notes director James Phillip Gates. "Rather than have the backdrop of the play being 'war' specific, I imagined other contemporary scenarios where combatants exist, where a strict social hierarchy is enforced and rewarded, a world where a legitimate veneer is often a cover for a seething, dark underbelly, full of moral ambiguities," he continues. "The exciting and challenging world these characters inhabit is a hybrid of organized crime and mercenary army: a world where Blackwater meets 'Eastern Promises.'"
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