The production opened with a brutal yet captivating slow-motion combat scene, executed with great conviction and discipline by the company. In fact, throughout the entire performance, we could see how well rehearsed the ensemble were, as the staging was executed with hypnotic synchronisation and real 'complicite'. This was underlined by all ensemble cast members wearing matching army costume, to emphasise their anonymity and make us see them as one body.
The set used was kept to a bare minimum, with benches cleverly varied in their use to define different emotional/psychological spaces, and to suggest locations - from cloisters to corridors; a banquet hall to church pews. Additional props were added to differentiate certain characters and events, which achieved great focus on the minimal stage. The coronation scene for instance came startlingly to life with a vivid sense of symbolic occasion and power. Recorded sound was used extremely effectively throughout to build tension and create an eerie atmosphere.
The title role of Macbeth was played outstandingly by Jake Spence, who sensitively showed the character's mental conflict and portrayed his development throughout the play brilliantly. Kathy Stocker played the calculating Lady Macbeth superbly, capturing the character’s cool exterior, whilst showing her ambition and thirst to reach the top. The all–powerful witches (Violet Bennett, Ellie Mackenzie-Smith and Cecely Richard-Carvajal) were haunting, predatory, shape-shifting figures of fate. Their reptilian physicality, mesmerising stares and spooky voices singing “Macbeth”, might have appeared in everyone’s nightmares. Ed Broadhead brought gravitas and intelligence to the role of Malcolm, whilst Jack Hulston’s portrayal of Macduff showed great integrity and depth of emotion: his reaction to hearing the news of his slaughtered family was very raw and moving indeed. Strong characterisation and commanding performances were also evident from Oscar Flamank (Banquo), Charlotte Day (Duncan) and Megan Yeates (Lady Macduff).
The production achieved a good balance of humour and intensity, with the scene with the night porter (Adam Gristock) and his female companion (Aisha Bennett) providing some light relief, with their re-scripted lewd jokes and references to modern society delaying the discovery of Duncan’s body. The production was not afraid to take further risks with some disturbing and violent sequences, such as the murder of Lady Macduff and her family.
Never a false note, the evening provided a compelling, refreshing and lucid view of Macbeth, and was performed by an obviously passionate and enthusiastic cast of actors, not to forget the hard work put in by the technical team and directors. This piece was a fantastic achievement , exploring many dark aspects of human nature. I’m sure it will equally impress the audiences that will be lucky enough to see it when it tours schools in Germany over half term.
Claire Macfadyen
Click to view the Macbeth programme