What can't the versatile Alan Cumming do? Since I first saw his riveting MC in the musical Cabaret, I've seen him do Chekhov and Noel Coward as well as Shakespeare. I've been charmed by his introductions to Masterpiece Theater. His political operative Eli Gold is my favorite character in the popular TV series The Good Wife.

I wasn't in New York when he wowed Shakespeare lovers with his solo Macbeth. But, Cumming has now given me and others who missed that first demented Macbeth a chance to see how doing not just the Thane but every other character in his tragedy.

I've seen the play often enough to be inclined to wash my hands of it as vigorously as his guilt-stricken Lady. But with Cumming playing both Macbeths, not to mention Duncan and his lady and Banquo's ghost —well, this really was a Macbeth not to be missed, if only to see how the actor did it.

Now that I've had a chance to see the Cumming take on this extraordinary multi-tasking for another limited run, all I can say is "by God he did it!" And for all the showmanship at play, the actor's Scottish burr is no hindrance to his speaking his lines with clarity While I can't say whether he's better than ever, he is indeed pretty amazing and the production has retained its eerie setting, unnerving sound design and video cameras in its move to the Barrymore Theater.

Except for two new actors on board as the asylum attendants, the original review is still right on the mark. Therefore, just a few observations and the current production notes before moving on to a re-post Deirdre's astute comments.

Attention should be paid to Deirdre's caveat that this is not a traditional evening of classical theater and is unlikely to appeal to anyone with tamer, more traditional Shakespeare. While I don't think a departure from tradition is a problem. I've seen plenty of new wrinkles introduced into the Bard's works. However, reducing the cast to one actor, tends to come off as something of a theatrical parlor trick. Fascinating to watch how the "magician" on stage manages it but not getting all that emotionally engaged.

And here's another caveat. A super Shakespeare buff like Deirdre will have no problem figuring out what's going on and recognizing all the characters present (and, as pointed out below, absent). Even those who've seen or read Macbeth at least once, will recognize the scenes of this asylum patient's fevered dreams. But those unfamiliar with the play are likely to feel at sea during much of the hour and forty minutes. It would help if such Shakespeare newbies got to the theater in time to read the plot synopsis included in the program. Otherwise Cumming's facial expression and body language and the somber atmoshere will have to capture and hold their attention.

Finally, Brendan Titley and Jenny Sterlin, who are on board to make this a not-quite-solo play, manage to bring quite a bit of nuance and interest to their small parts. But that said, this is Cumming's turn and no doubt like the season's other star soloists (Holland Taylor, Fiona Shaw and Bette Midler) expects a nod from the Tony voters. As Deirdre pointed out, this Macbeth can be viewed more as a "happening than more traditional classical theater. Maybe the Tony folks and various other award giving organizations should set up a new "happening" category.

Current Production Notes
Macbeth starring Allan Cumming; also Brendan Titley and Jenny Sterlin
Directed by John Tiffany and Andrew Goldberg
Scenic and Costume Design: Merle Hensel
Lighting Design: Natasha Chivers
Sound Design: Fergus O'Hare
Video Projection Design: Ian William Galloway
Movement: Christine Devaney
Music: Max Richter
Running Time: 1 hour an 45 minutes, without intermission
Ethel Barrymore Theatre 243 West 47th Street, 212/239-6200
From 4/07/13; opening 4/21/13; closing 6/30/13 Monday, Tuesday and Thursday @7pm, Friday and Saturday @8pm, Sunday @3pm