In preparing this review—more in that than in actually witnessing the performance—I had to remind myself that this is not the play which has come down to us as Shakespeare’s Scottish Play with some conspicuous additions by Thomas Middleton, as well as some other cuts and adjustments. It is rather <i>Macbeth 2008,</i> Gzregorz Jarzyna’s adaptation of the play. What made this hard was that it resembled Shakespeare’s play in so many ways that I couldn’t help thinking about it and making comparisons. Jarzyna’s spectacle even includes several excerpts from the best-known speeches in the play, inserted into the crude, obscenity-ridden dialogue that Jarzyna has created in the style of contemporary Hollywood film, especially the work of his hero, Ridley Scott. If I had been able to attend the lecture Jarzyna gave at the Polish Cultural Center about a month before the much-publicized opening of his show, I’d have been better prepared, and perhaps more resistant to comparisons with the Jacobean play, so admirably presented by a company from the Chichester Festival barely a mile distant from its venue in the armpit of the Brooklyn Bridge. All Mr. Jarzyna’a lights, noise, and bodily fluids amounted to pretty feeble stuff in comparison with the all-too-familiar words of the old play. His purpose is to present the story of Macbeth as a nightmare, as if the play were not nightmarish enough in itself.On the other hand, it was great fun to be there in the Tobacco Warehouse, a brilliant arrangement, brilliantly executed by St. Ann’s Warehouse, which itself stands across the street.