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IMPRESSIONS: Whitney White's "Macbeth in Stride" at BAM Harvey Theater
By Tom Phillips
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Published on April 22, 2025
Whitney White in "Macbeth in Stride"; Photo: Marc J. Franklin
Macbeth in Stride
Written and performed by Whitney White
Whitney White -"Woman"
Charlie Thurston -"Man"
Holli' Conway- First Witch
Phoenix Best- Second Witch
Ciara Alyse Harris- Third Witch
Directed by Tyler Dobrowsky and Taibi Magar
Choreographed by Raja Feather Kelly
BAM Harvey Theater
April 16, 2025
L--R: Holli' Conway, Phoenix Best, Whitney White, and Ciara Alyse Harris perform in Macbeth In Stride, at BAM (Brooklyn Academy of Music). Photo: Marc J. Franklin
Methinks the lady doth protest just enough: Rocking the house at BAM, Whitney White rips up the script of MacBeth, performing it as a hip-hop, gospel spectacle with Shakepeare’s verse woven in, while alternately protesting the play on behalf of Black, brown, femme and queer folks denied the role of the hero.
The Lady is the protagonist in White’s adaptation, along with three slinky, all-knowing witches — not backup singers but collaborators, they insist. What is it you want, they ask her. “Power!” says the lady. You need a man for that, they say. Enter MacBeth, a brooding white guy dressed like Hell’s Angels and squeezing a piano accordian.
Charlie Thurston performs in Macbeth In Stride, at BAM (Brooklyn Academy of Music). Photo: Marc J. Franklin
Mixing religion and ambition, the witches whack tambourines and sing Hallelujahs. White is acting out a Black feminist fantasy, and it works for the first half of the show.
“Unsex me here,” she prays to the spirits of murder. “Come to my woman’s breasts and take my milk for gall.” I never heard these lines prayed with such venom and panache. Our Lady overwhelms MacBeth’s moral scruples and forces him to kill the king. And so the happy couple begin part two strolling down a red carpet, arm in arm, gowned and crowned.
Whitney White and Charlie Thurston perform in Macbeth In Stride, at BAM (Brooklyn Academy of Music). Photo: Marc J. Franklin
Then comes the hard part. "What do I get to DO?" wails the queen, and the answer is to stew in your own shame. The king does no better – both are bedeviled by their bloody deeds, but at least he gets to go out and fight for his life. The Lady stays home, goes mad and dies offstage. Whitney White protests. Her last line before the blackout – she wants to be “not dead.”
This production is not dead, even for a second. White is in everyone’s face as she runs the show like a gospel preacher, pounding the piano, belting out her songs, tearing up and down the aisles. Much cooler but just as kinetic are the three sisters, and MacBeth is right on time with groans of damnation from his white accordion. Raja Feather Kelly shows his light touch with non-stop choreography that is nearly invisible. These people are just dancing around the house, it seems.
L--R: Ciara Alyse Harris, Phoenix Best, Whitney White, and Holli' Conway perform in Macbeth In Stride, at BAM (Brooklyn Academy of Music). Photo: Marc J. Franklin
Meanwhile, Shakespeare hits home as the cast of five delivers his verse with classical passion, mixed with street talk and media babble. “Double double, boil and trouble” becomes a double-time rap for the witches. “Out, damned spot” calls to mind a TV commercial.
The best thing about this free adaptation is its honesty. Toward the end, the opening question is reprised, this time by MacBeth to his Lady. Do you really want the lead in this play, he asks. She can’t answer. That’s the tragedy, and the truth. “MacBeth in Stride” does justice to all.
Whitney White and Nygel D. Robinson perform in Macbeth In Stride, at BAM (Brooklyn Academy of Music). Photo: Marc J. Franklin
