The web page for this year's production of Macbeth at Oregon Shakespeare Festival contain a line whose like I don't recall: "there are scenes of witchcraft, the slaughter of a mother and her children, and a decapitated head. There is violence, sensuality and disturbing imagery in the production." Sure enough, this is an intense, savage performance of the Scottish Play.

Every aspect of the production seems marked with an exclamation point, usually with verve but once or twice with questionable results. Director Gale Edwards and his design team (Scenic Designer Scott Bradley, Costumer Designer Murell Horton, Lighting Designer Mark McCullough and Sound Designer Todd Barton) have put together one of the most, well, "theatrical" productions in years, but the question needs to be answered, with apologies to the bard: is the production full of sound and fury, signifying nothing?

Peter Macon returns for his second season at OSF in the title role here, thanks to either a fortuitous coincidence or an aggressive recruiting campaign - he had said to Bill Rauch last year that if he (Rauch) ever had the opportunity to work with director Gale Edwards he should leap at it. Lo and behold, Edwards comes aboard to direct this season's Macbeth and Macon, who worked with Edwards two years ago in a production of Titus Andronicus in Washington D.C.,  is back in another eponymous Shakespearean role following last year's Othello. Reviewing Mr. Macon's work is going to be a pointless task in the near future if it isn't so already; of any recent company member, his performances seem to be the most polarizing. In my conversations (participated in or overheard) and on the Internet, reviews of him are never mild. Some believe he has an admirable command of the stage and a diction suited to the heavier Shakespearean roles. Others think he is incapable of anything short of bombast and that he lacks subtlety. To date, I fall squarely in the first camp and I thoroughly enjoyed his Macbeth. Contrary to his nay-sayers, I found his ability to "bring it down" within the confines of the Angus Bowmer theatre more than sufficient to the challenges of his role, while the great speeches and moments of surety are happily within his wheelhouse.

The set reminds me of last year's Clay Cart, not in tone (dear Lord!) but in the all-encompassing mood it inspires, from the writhing bodies along the stage to the gnarled and twisted staircase, on the complex lighting scheme and a truly inspired (in that it was queer and alien) scene with the witches and Macbeth wherein strange spirits are summoned. Perhaps it's a reaction to the horror chic in cinema today, or maybe I just don't see enough theater, but several scenes had me thinking "I can't believe this is happening on a stage!"

On the other hand, when I'm thinking that I'm not thinking about the play, and that's where I have to come to in the end. This Macbeth will both dazzle you, but it doesn't move you. If some people left last year's A Midsummer Night's Dream thinking that depth was sacrificed on the altar of laughs, those people will leave this production thinking that depth was sacrificed for "wow"s. I was a defender of Dream specifically because it made me laugh so consistently that the sacrifices it made were more like an investment. Will I defend Macbeth? No, I don’t think so. It’s certainly not a waste of time, and if you get to see a lot of theater then I think it adds to the “conversation,” but if OSF is your rare treat to the stage then you shouldn’t plan around this cold production.