Runs through: May 1

There's something stunning, mesmerizing, and beautiful taking place at Chicago Shakespeare Theater. In a lyrical and evocative turn, internationally renowned director Shozo Sato has taken Shakespeare's Macbeth—that dark tale that demonstrates the folly of lusting too much for power—and brought its most fascinating character to the fore, telling the tale of murder, insanity, and evil political maneuvering through her eyes.

Kabuki theater with its highly stylized use of sound, movement, and acting lends itself well to the tale of Macbeth, making its commentary on human greed and hunger for power even more accessible than the original. Sato's scenes are short and razor crisp, and under his direction, this dark tragedy unfolds at a compelling pace.

But the thing about this production that really traps and enfolds you in its dark embrace is its staging and its astonishing cast. Sato defines 'kabuki' as 'maximum stylization,' and in his remarks to the cast at the first rehearsal, explained that kabuki—and art in general—was an extremely stylized affair and that realism did not exist, at least not until the latter part of the 19th century: patrons of the arts had enough realism in their everyday lives.

Sato himself is responsible for the overall production design and uses the smaller upstairs theater to maximum effect. 'I decided that we had to have a focus, like under a microscope, to see the detail of the set, the costumes, and these characters in an exaggerated way. And that is why the set is all black, with only striking accents of color.' The look of Kabuki Lady Macbeth still lingers in memory, and I predict it will for a long time. Katherine Ross's scenic design, using screens, blood red streamers, dry ice, and ephemeral curtains amplifies the story, while at the same time provides a stunning backdrop for the complex action taking place on stage. Michael Rourke's lighting adds a layer of emotion to the proceedings, mirroring the spiraling down of the tragic lives of the characters. The costumes added symbolism and depth to each character and—aside from that—were jaw-droppingly beautiful. Curiously, no credit is given in the press materials for costume design. Complementing the costumes is the make-up, which is a vital element of kabuki ( actors faces are first painted white to empty them out, so they can fully inhabit their characters; colors and shapes are then used for symbolism and emotion ) .

But it's the cast that must bring all of the above to life and they do … with the kind of skill one would only imagine on a stage in Japan, where the players had spent many years—as opposed to many months—mastering the highly stylized vocal inflections and movement. Barbara Robertson is amazing and the three witches ( Elizabeth Laidlaw, Laura T. Fisher, and George Keating ) bring the kabuki style to life, using perfect modulation, eerie movement, and even a bit of humor ( derived from their omnipotent insight into human blindness ) .

Kabuki Lady Macbeth is a rich theatrical experience.