Players’ Theatre’s production of Macbeth, directed by Martin Law, transports Shakespeare’s classic tragedy to the end of WWI in the form of a humanized epic. The play features a strong cast, with Matthew Rian Steen and Annie MacKay at the helm as Macbeth and Lady Macbeth.

Setting the play in a more modern time period makes this production of Macbeth feel more familiar. At its core, it is a tale of political megalomania and the limits of human nature. Watching the extent to which Macbeth will go to secure and maintain his kingly title is both fascinating and horrifying, and not so far from our modern reality.

Steen and MacKay deftly portray their characters’ rise as a lustful, power-hungry couple, as well as their descent into madness. In particular, MacKay breathes menacing life into Lady Macbeth from her very first moments onstage; she is compelling and versatile, revealing the crippling humanity behind such an inhumane character.

Emily Murphy’s Banquo is also worth noting, and her portrayal of his ghost is appropriately creepy and captivating in equal measures. Makeup artist Katey Wattam aids this ghostly transformation with ample blood and white face paint.

Costume designers Jillian Caldwell and Claire Stewart deck the cast of all different shapes and sizes in perfect period costumes—a personal favourite is Lady MacDuff’s white gown, which contrasted nicely with Lady Macbeth’s black number.

Without the distraction of elaborately Elizabethan costumes, the play manifests on a much more intimate plane. As a result, it’s easier to digest the genuine emotions laid bare by the cast.

One of the most honest emotional performances in the play is Alex Rivers’ portrayal of MacDuff and his grief upon learning of murder of his wife and children. Rivers delivers a stripped down, nuanced performance of mourning, then seamlessly transitions into swearing angry revenge on Macbeth.

The use of lighting in this production is also inspired, especially in the scenes featuring the three witches (played brilliantly by Olivia Blocker, Arielle Phaedra Nowak, and Ayla Lefkowitz). It illuminates the importance of these mystical interludes, out of place with the political themes of the play, for the casual viewer.

Similarly, the banquet scene featuring Banquo’s ghost is enhanced by the use of isolation lighting, which makes the audience aware of exactly who can, and who cannot, see the ghost, adding to the ominous quality of Murphy’s performance.

One of the few flaws of the production comes from the use of sound effects, which at times ended rather abruptly and oddly, instead of fading out subtly.

Overall, this production is well worth your time; it keeps moving at an even pace from beginning to end, with help from a revolving set piece that allows for quick scene changes. There are no extended pauses for the audience to catch their breath, heightening the tension and driving the action of the production. Macbeth’s century-old intrigue rarely seemed more fresh and relevant.

Players’ production of Macbeth runs from Feb. 27 to Mar. 2, 8 p.m. at Players’ Theatre (3rd floor SSMU). Student tickets $6.