“Macbeth” is littered with casualties — and not only on the fictional battlefield. The tragedy has taken down a battalion of the finest directors and actors, who have fallen victim to the play’s real curse: its deceptive dramatic difficulty. The problem is counterintuitive. Why does a play as spellbindingly theatrical as “Macbeth” excite an audience's interest only to exhaust it by the end? Macbeth’s path as protagonist is a strange one.
One of the early indications that Macbeth has long been dreaming about being king is his reaction to the witches' news that he will “be king hereafter.” “Good sir, why do you start and seem to fear / Things that do sound so fair,” Banquo questions him in my edition of the play. This note in the text is one of those small opportunities that Shakespeare provides to clarify that Macbeth is not merely a puppet of fate.
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