This eye-catching production shines a gaudy and sometimes revealing new light on Macbeth. With outsized performances and costumes, it cleverly illuminates some scenes and makes a ribald farce of others. Though entertaining, the approach tends to defuse the tragedy.

Maybe that’s okay in a production that purports to explore themes of madness, based on the premise that the play’s wildly swinging moods are similar to the way mental-health patients sometimes experience the world. But frankly, that sounds better on paper than anything I took away from the production.

The text, edited down to 100 minutes, is the evening’s only evidence of restraint. All the actors wear character masks that cover the top of the face but mostly leave the mouths unhampered. And clearly they’ve been told to hold nothing back. As Macbeth, Xuan Fraser gives a hip-swinging, piggish performance. And I mean that as a compliment, except that once again, what’s played for laughs in the early scenes can hardly move us to pathos later on.

As Lady Macbeth, Kate Fenton exploits her mask and slinky costume to great effect and brings her extensive comedy experience into play. Alas, this too undermines her final scenes of madness.

Director Michael Kelly keeps things lively, delivering a production that’s distinctive if not transcendent. It will certainly appeal to the Grade 7s included in the target audience. Glenn Davidson’s set and lighting and Melody Anderson’s masks add a lot to the atmosphere.