There is nothing simple or straightforward about Idaho Shakespeare Festival's "Macbeth," which opened Saturday night.

Producing artistic director Charles Fee's Asian-inspired take on Shakespeare's tragedy blends Japanese Noh theater and Beijing opera techniques with classical theatrical style.

The production is bold, visually striking and engaging. Red silk flows as a metaphor for blood. Swords crash in dynamic stage fighting, all driven by Japanese style drumming, rushing to keep pace with Shakespeare's text.

"Macbeth" is the shortest and most focused of the tragedies. This is the third time the Idaho Shakespeare Festival has produced Fee's percussive staging. The last time was in 2002. This production runs through Aug. 29.

From the beginning of rehearsals, "Macbeth" has been plagued by injuries and major casting changes. Understudy Dougfred Miller stepped in to the role of Macbeth for Andrew May, who injured his back. Young company member C. David Ketchum took over Miller's role of Lenox.

Then on July 22, founding company member Dan Alan Peterson died suddenly, leaving the company in shock and demanding yet another casting shuffle because he was cast as the Porter. This time M.A. Taylor picked up the part of the Porter in addition to his primary role as Macbeth's attendant, Seyton.

As a testament to the character and depth of this company, it pulled together under the worst circumstances to execute a demanding piece of theater well enough. Though the production has not yet jelled, it undoubtedly will as it runs through the month.

Spurred by the prediction by three witches that he will be king, Macbeth and his Lady plot to kill King Duncan (Aled Davies) and usurp his throne, but Duncan's murder begins the spiral of their own destruction.

Macbeth is probably Shakespeare's most conflicted character. His ambition is fueled more by imagination than intelligence. He is deeply tormented by his own deeds and descends into his personal hell so quickly that our heads spin along with his.

Miller, an actor who usually is cast in the roles of earls, kings and Welsh schoolteachers, gets ample room to stretch here and takes keen advantage of the leading role. Miller brings out the human side of his Macbeth, making him a more tragic character as he battles between his worse and better natures. Of course, the worse wins out, and Macbeth becomes a bloodthirsty tyrant who sees enemies at every turn.

As Lady Macbeth, Laura Perrotta, who usually creates rich and deep characters, struggles. She seemed overwhelmed by and unrooted in the opening performance. An enormous wig with braids that reach nearly to the floor swallows her up and adds to the look of the show but not the character.

Perrotta lacks command and genuine passion in her opening monologue, in which she conjures the elements to drive her passion and ambition and to help Macbeth achieve the crown.

She and Miller still are working out their chemistry as Shakespeare's most in-love married couple.

The acting company as a whole turns in dynamic performances. Lynn Robert Berg (Banquo), David Anthony Smith (Macduff), Jodi Dominick (Lady Macduff ) and Tom Ford (Rosse) all are standouts.

Smith and Miller play off one another extremely well in fight choreographer Ken Merckx's physical, climatic battle to the death.

Though the transition for Taylor from Seyton to Porter was a bit confusing, Taylor's performance, a tribute to Peterson, was deeply affecting. The one brief comic relief from this relentless tragedy, Taylor made it rewarding.

The superstars of the production are the Weird sisters, the three witches who predict Macbeth's ascension, played by Sara M. Bruner, Derrick Cobey and Alicia Kahn. Their costumes are designed by Star Moxley.

Their animalistic quality and birdlike demeanor give them a magical and fascinating presence. Fee chooses to incorporate them into various scenes in addition to the few in which they speak, using them to their full effect. That thread helps maintain the production's course to its tragic end. The three actors create a wonderfully bizarre movement vocabulary that deepens their character and steals the stage.

Moxley's costumes, especially Lady Macbeth's flowing red and white gowns with extended trains, beautifully continue the metaphor of the red silk for blood and offers the idea that good and evil both live in the same place.

Scenic designer Gage Williams' dramatic back panels, slashed with black and white, created a forceful world for these warriors to inhabit. The drums and metal symbols are beautifully incorporated into the backdrop and sides of the stage, seamlessly incorporating what could be a jarring soundtrack into the holistic flow.

Sound designer Peter John Still keeps all the sound in check, so the drums (well played by Seth Asa Sengel and Matt Webb) do not overpower the actor's voices.

With a few more performances, this company will continue to grow and come together, and the production is sure to be one not to miss.