October 3rd 18:30/Lithuanian National Drama Theatre, Main Stage, Gedimino Ave. 4, Vilnius Director/set designer – David Doiashvili Costume designer – Anano Mosidze Choreography – Konstantin Purtseladze Video projections – Nino Lapiashvili Light design – Ia Nadirashvili Cast: Ana Aleksishvili, Imeda Arabuli, Alexandre Begalishvili, David Beshitashvili, Nana Butkhuzi, Tato Chakhunashvili, Buba Gogorishvili, Tornike Gogrichiani,Nanka Kalatozishvili, Kakhaber Kintsurashvili, George Modzmanashvili, Archil Sologhashvili, Giorgi Vardosanidze.
Premiere – 12 October 2009 Duration– 2 hours 20 minutes Director David Doiashvili was born in Tbilisi, Georgia. A graduate of the Rustaveli State Institute in Tbilisi (class of M. Tumanishvili), he has been directing performances in various theatres in Tbilisi and abroad. Among his productions are Tree by M. Doiashvili, Madame Bovary by G. Flaubert (D. Alexidze Theatre, Tbilisi), Three Sisters by A. Chekhov, Salomè by O. Wilde (K. Mardzhanashvili Theatre, Tbilisi). He also staged A Midsummer Night´s Dream by W. Shakespeare for the Royal National Theatre in London and The Crucible by A. Miller in the Playhouse Theatre in Leeds, Great Britain. David Doiashvili is the leading director of Tbilisi Music and Drama State Theatre. All the aspects of the performance “Macbeth” – directing, set and light design, and the extremely high quality and credibility of acting – were acclaimed by critics and producers alike. David Doiashvili offered the audience a completely new vision of “Macbeth”, one of the greatest plays of all times. As a result, “Macbeth” received invitations to numerous international festivals and theatrical happenings. The most impressive and significant was the International Theatre Festival in Rijeka (Croatia), where “Macbeth” won nine nominations out of twelve, including those for the best performance, best director, best actress, best actor, best set design, best costume design, best music, and the prize of the audience. According to international critics, Georgian director David Doiashvili has justified the epithet of a rising star of theatre directing. His interpretation of Shakespeare’s “Macbeth” leaves no doubt that the classical text is still highly relevant. In Doiashvili's interpretation, Macbeth has every right to act as he did. His actions are a consequence of the regime under which he lives. And yet, in the end, the murder catches up with the murderer, because a person always bears personal responsibility for his fate, despite all the despotism and the witches. Doiashvili has transformed “Macbeth” into a spectacle full of stage metaphors and visual opulence, which plays with darkness as an important element of the world, and in which excellent symbolic solutions are seasoned with lyric scenes ranging from purely aesthetic to characteristic. The Georgian Macbeths, like some medieval Bonny and Clyde, cling to each other until death. The result is the absence of any attempt at a realistic-theatrical illusion. This setup leads to fascinating and highly imaginative visual activity on the stage – implied, marked, physical and exposed.