The Frog and Peach Theatre Company is putting their own unique stamp on Shakespeare’s Macbeth this March. With DazMann Still in the title role and Amy Frances Quint as Lady Macbeth, this version of the violent classic is certain to leave an impression. But how is it all coming together?

TVBrittanyF.com connected with star DazMann Still to learn what he found fascinating about the role of Macbeth. He also spoke about what having Quint as his co-star added to his performance. Plus, what has he learned from his tenure with Frog and Peach? Get to know this talented actor in our interview.

Brittany Frederick: Macbeth has been performed countless times and with so many different interpretations. What made you want to tackle this well-known role?

DazMann Still: I love the idea of giving someone circumstances that lead to an inevitable downfall. In some ways, there’s still a lot of choice that’s made in this show. It’s about getting into someone’s head with just the right prodding that it sparks in them this certain aspect of themselves, that just takes the reins and leads them in a completely different direction than they normally would go.

I love how impacted Macbeth is by the witches’ quote-unquote prophecy at the beginning of the show, and how much that stokes up in him. He’s gone through his life kind of pushing down the darker aspect of his nature that he normally would take a more moral stance against. But when one thing leads to another and just the right people say just the right things to you, sometimes you end up going down different paths. And so I love the conflict of that.

Frog & Peach director Lynnea Benson is fantastic at finding new ways into classic material. So how would you say this Macbeth is going to be different?

Where it differs from a lot of other productions of Macbeth would be the relationship that a lot of the characters have to the power figures to begin with, and what those power figures symbolize. Without giving too much away, what sets this production apart isn’t necessarily that someone inherently good is a victim of anything, or someone iinherently bad is a victim of anything. Well, inherently bad [to] some degree, but such risky maneuvers can really bring out our worst fears, our worst paranoia, can bring out the weakest part of ourselves that we ultimately have to deal with. How we go about dealing with that can determine where we end up.

You’re once again sharing center stage with Amy Frances Quint, whom you’ve worked with multiple times, most notably in Frog & Peach’s The Taming of the Shrew. How much does having her as your Lady Macbeth add to your performance?

It’s foundational for me. Feeling like I can explore in the room, that I can take risks as I continue to learn. Because obviously, there’s a lot to learn with this part. There’s a lot of practice that I want to get in the room. There’s a lot of chances I have to take, and it helps that I get to work with Amy and have her opposite me as my Lady Macbeth, because she’s prepared. She’s reliable. She’s someone who I know I can experiment with in a scene. And that makes it so much more accessible to me, to be able to try and discover more.

Having been with Frog & Peach Theatre Company for a few years now, how would you say you’re a different actor than you were before this group?

I’m going on my third year. I still feel relatively new, which is funny. But you know, the opportunity to work on productions with Lynnea and with this theatre company, it’s changing how my process is evolving as an actor, which I’m very grateful for. The challenges of these new roles, of the way that we frame these stories, all caused me to adapt in ways that I didn’t anticipate. That are helping me expand how I approach my craft, the tools that I have available to me, the way that I’m learning to be present with my actors and with the world of the show differently than I used to. It’s a lot of good work.

Is there anything that you’d like to see Frog & Peach tackle? As the company is great with Shakespeare, but you’re also capable of doing other productions as well.

I would be so intrigued to see what Lynnea did with Brecht, because she already has such a good grasp of finding the humor and being very presentational with something. I would love to see how she adapted Brecht. And also, I think Chekhov would be very fun with this theatre company.

Macbeth runs from March 6-29, 2026. For tickets and more information, visit Frog and Peach Theatre Company. Photo Credit: Eric Doss/Courtesy of Skollar PR.

Article content is (c)2020-2026 Brittany Frederick and may not be excerpted or reproduced without express written permission by the author. Follow me on Twitter at @BFTVTwtr and on Instagram at @BFTVGram. For story pitches, contact me at tvbrittanyf@yahoo.com.