Macbeth (Peter Macon) sees a ghostly apparition in the Oregon Shakespeare Festival production of “Macbeth.” Contributed Photo by Jenny Graham

ASHLAND — The Oregon Shakespeare Festival is stronger than ever, offering 11 plays and 14 reasons to visit Ashland this year.

The plays are the obvious draw: professional, Tony Award-winning performances with roots going back to Chautauqua, and aspirations soaring into the 21st century.

But, entertainment in Ashland doesn’t end with the plays. OSF also offers dance concerts on the courtyard stage with their free Green Shows; Park Talks (the inside scoop from actors, designers, and theatre artisans); and Festival Noons (see sidebar).

The buzz last weekend during the OSF opening festivities centered around the concept, “stay closer, go further.” You’ve always hankered to explore the crumbling castles and misty bogs of Scotland? Take advantage of this production of “Macbeth.” Travel to the outdoor market and exotic culture of Nigeria, with “Death and the King’s Horseman.”

Something closer to home? How about River City, Iowa? “The Music Man” opened Feb. 21 with a pint sized pit orchestra, slick as a whistle performances, and a full complement of production values.

Costumes, set, and lights fully support the polished cast. Michael Elich as Harold Hill embodies that classic, American standard, the traveling salesman. He sings, he dances, he tricks his way into the towns peoples’ pockets and very nearly fools River City’s lovely librarian, played by Gwendolyn Mulamba. Choreography by Darren Lee is spot-on and nicely delivered by the cast, especially Eddie Lopez in the role of Tommy and local high school student Ana Marcu as Gracie. The musical’s opening number sets a high standard, with traveling salesmen snapping their newspapers and rocking in the railway carriage. Lee’s treatment of the dance number in the library found actors whizzing around the stage atop book carts and dancing through the stacks, to the delight of the nearly full opening night house.

Director Bill Rausch brought one of America’s preeminent deaf actors to Ashland for “The Music Man,” Howie Seago. The two worked with a sign master to develop the character of Marcellus Washburn. Seago’s highly honed skills are not merely a nod to diversity — his performance sparks laughter and pathos and insight, for audiences both hearing and non-hearing.

OSF Artistic Director Bill Rausch put it all together for this show, and the show was rewarded with a rousing, standing ovation. This is the caliber of work we’ve come to expect from Ashland. Don’t look here for evidence of emotional depression or economic recession. Harness the energy of the Wells Fargo Wagon song, and who needs a stimulus package?

A spellbinding ‘Macbeth’

The opening night performance of “Macbeth” was spellbinding, and that only partly due to the creepiest witches ever to shuffle across a stage. The show is an explosive event, where raw ambition and a touch of paranoia set a pace that leaves the audience shaken and breathless. Peter Macon in the title role starts out strong, and grows ever more powerful and compelling as this two hour, 10 minute story plays out. His is a violent world and this actor pulls no punches. Robin Goodrin Nordli as Lady Macbeth matches him moment for moment. Without an iota of overacting, these two set a gold standard for performance.

Scott Bradley’s set design is brilliant. In a show that director Gale Edwards delivers like a graphic novel come to life, the set never ceases to amaze.

Taking a cue from the “earth hath bubbled” image, Bradley and Edwards created a dark, dangerous place where once-molten rock laps the edge of the stage, revealing skeletal remains trapped in ooze. There are tumbled, monolithic stones, pock-marked rock, and a perilous catwalk that curves as it turns into a collapsed staircase. Richly worked wrought iron forms twisted and tilting flowers, supporting what was once a gold-toned handrail. Macbeth and his Lady thrive in this place. They behave as though the room is normal, either unable or unwilling to admit that their world is composed of broken, jagged, pieces. Costumed either in black or in red, each and every character is instantly iconic. The soldiers are all faintly fascist. The witches are ... not quite human. Lady Macbeth’s jewels glow with a blood-red hue — the lighter, livelier red of arterial blood, sparkling against her neck.

On opening night during the second appearance of the witches, many people in the audience screamed. This is a powerful Macbeth, indeed, and an excellent choice for a full-season run.

Teri Albert reviews art and artists for The World. She can be reached at malbert3@verizon.net.