Macbeth
Shakespeare North Playhouse
Co-produced by English Touring Theatre, Northern Stage, Shakespeare North Playhouse and Théâtres de la Ville de Luxembourg, this contemporary production of Shakespeare’s classic Macbeth is not only unafraid to provocatively subvert the genre of the play, but to also rearrange the scenes to create a powerful stage show that mirrors the political landscape of modern Britain. This fresh perspective of is a commendable modernisation, which director Richard Twyman has ensured still honours the Scottish roots of the original play.
Opening with a witch trial rather than the traditional “When shall we three meet again?” witches scene, this is a fast paced production brimming with stand out performances from the cast, and creative decisions that aid the tension. As with the Imitating The Dog version of Macbeth we saw earlier this year, this production utilises video technology to assist in the storytelling, though this production’s approach is a much more gentle affair.
The highlight of the video technology use for us was as the Macbeths plot murder. They are almost entirely off stage in a kitchen setting, with the audience shown what is happening via a security camera style feed of the action on two large screens. Not only did this allow all of the audience to see what was happening in an area of the stage that had a restricted view, but having the couple engage in a heated debate in the kitchen whilst their party guests continued unaware in the main room provided a subtle depth to the Macbeths relationship. They definitely aren’t the first couple to have a mild argument during a dinner party, and they won’t be the last, though admittedly most couple arguments don’t centre around whether to murder their guest!
The video technology is also used to great effect when Macbeth sees Banquo’s ghost. Whilst there is nobody on the stage for the cast to see, the audience are able to see the ethereal spirit that Macbeth is seeing on the video screens.
Casting Director Lotte Hines has done an impeccable job in finding such a diverse and talented cast.
Mike Noble as the titular character is a calm, more strategic general than an action man war hero. The slow transformation into a bitter, tyrannical leader was seamless and showed Mike Noble’s skill as an actor. He was perfectly cast opposite Laura Elsworth as Lady Macbeth. Her portrayal of Lady Macbeth’s descent into madness perfectly captured the multifaceted aspects of the character, but it was the warmth and believability they had as a couple where they truly shone. Their interactions on stage were natural, and their chemistry was a perfect example of an established couple who are comfortable in their roles within the relationship. The raw emotion Mike Noble shows as his character is told of Lady Macbeth’s death is exceptionally acted.
The decision to have Lady Macbeth receive a voicemail detailing Macbeth’s strange encounter with the witches was an inventive modernisation that not only removed the need for the witches to appear, but was also an eloquent way to show the love between Macbeth and Lady Macbeth; his first thought after receiving the prophecy was to call his wife. Their love really was centre stage in this production.
Leo Wan as Ross and Guy Rhys as Macduff also deserve a special mention. Leo Wan brought a level of humour that ensured the piece had peaks and troughs of drama, and gave the audience time to recover from some of the more graphic moments. Guy Rhys meanwhile encapsulated Macduff and was the ideal counter to the almost mild-mannered Macbeth.
The scenery within this production is limited, but not in a negative way. The first act takes place in Macbeth’s apartment which is all styled with a retro feel. Aside from the living room and dining room, there is a kitchen area partially off-stage which menacingly features an array of knives. As the act goes on, and Macbeth becomes King, this apartment setting switches to The Royal Court. The second act sees much of the furniture removed, and the stage stripped back. Macbeth opens the second act by emptying a wheelbarrow of soil onto the stage which is used throughout the second act in Macbeth’s visions, as a sandpit and then as the soil for Burnham Wood. The simple staging worked well throughout and ensured the emphasis was always on the characters.
During the production there are nods to Scotland, including live bagpipe playing and a Burns Night style address to a haggis. Rather than the traditional Robert Burns poem, the “Double, double toil and trouble” witches speech is recited by the Macbeths over a haggis. Whilst the bagpipes at times felt unnecessary, and slightly over-powered for the space, the supernatural themed address to the haggis was a creative way to include the classic speech. There’s even a reference to the Scottish National Football team with Jasmine Elcock as Malcolm singing a karaoke version of ‘Yes Sir, I Can Boogie’ to a confused Macduff.
This is the first production to take place in The Cockpit Theatre at Shakespeare North Playhouse since the ‘frons scenae’ was completed. This production makes full use of the many ways on and off the stage, particularly when a multitude of apparitions in blonde wigs and blue dresses rush across the stage. This scene gave almost a Shining-esque ‘Come play with us’ vibe that was unnerving and the most obvious of the horror genre nods throughout the production.
The highlight of this production is the final fight scene between Macduff and Macbeth. Movement Director Elinor Randle has created a truly exquisite finale that is ultra realistic. Coupled with sound design by Tingying Dong, every sense is engaged in a visceral ending that resulted in an audible gasp from the audience. Multiple times we thought something had gone wrong and one of the actors had been seriously hurt, that’s how good the choreography and acting is throughout this scene.
We thoroughly enjoyed this production and would recommend the show, however, it is worth pointing out that after the run at Shakespeare North Playhouse the production will undergo some changes in order to work for the other theatres in the upcoming tour. This may take away some of the intimacy achieved by the staging within The Cockpit Theatre, but with a cast as talented as this one and the thought-provoking creative choices, we’re sure that that this will remain an astounding piece of theatre.
The show is on at Shakespeare North Playhouse until 23rd September. Full details of the tour can be found on the English Touring Theatre website.
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