“It is chilling and powerful. Best Macbeth I have ever seen and I have seen many.“
Kate Stratford
4.5 pricking thumbs
It is easy to emit an exasperated sigh when you see yet another Macbeth produced. In your head you are saying “Seriously?” But then – again – you remember that so many actors see roles like Mabeth and Hamlet and King Lear and Prince Hal as an actor’s crowning achievement; and directors likewise the plays. You can almost hear them screaming “let me at it!”.
David Tennant and Cush Jumo are brilliant but the real star in this Macbeth is the director, whose vision re-imagines the Scottish play for a 21st century audience whilst still being completely Shakespeare’s play. Max Webster’s version began life at the Donmar where it was filmed before moving to the Harold Pinter Theatre; so fortunately for us, we are able to see it without having to travel to London.
Webster has incorporated binaural technology to create an immersive 3D sound landscape (Gareth Fry). Each audience member wore headphones, conjuring the same aural experience whether sat in the balcony or on the front row. As a recorded viewing audience, we get the benefit. Plus close-ups. The spartan set and costuming allow for no distractions.
A large white square is elevated above a pit as the stage (and we just know that at some point, there must be blood). It is an island afloat on a dark sea. A place of safety surrounded by an abyss. Heaven and Hell. At one point, Fleance (Banquo’s son) balance-walks the knife edge (as children are wont to do) whilst the adults talk. The use of a boy child imagery is profound – he is the lost child of the Macbeths; he is the boy Macbeth; he is Fleance; he is Macduff’s son; he is a spirit conjured by the Wayward sisters. His presence haunts Macbeth, texturing in another dimension.
The white square is also a battle-field, a dining table, a dance floor, a bedchamber – truly Shakespearean in its use. Scenes where Macbeth is not present take place behind a glass screen whilst Macbeth himself sits in contemplation on the square, as though these scenes are playing in his mind. Lady Macduff’s murder is quite horrific as her screams resound through the theatre and it seems, Macbeth’s mind. The hairs on arms rise. My plus one was nearly crying.
Webster’s choice to disembody the Wayward Sisters and have their voices echo from all parts of the theatre with whispers and cackles adds the supernatural element so difficult to achieve. A raven takes flight at unexpected moments. In Shakespeare’s day, witches were truly, truly scary and it is a challenge to get that same sense on a post-modern, jaded world. This does it. It keeps Macbeth and Banquo spinning at the first meeting and later takes us into Macbeth’s hallucinations. The parade of future kings has the faces of those he knows.
Celtic music thrums, placing us firmly in place and adding another emotional level. There is some messing around with the script, cuts and amalgamation of characters but it all works. If everyone seems to be fighting everyone at the end that is the nature of battle – all
confusion and terror. Macbeth’s method of execution of Young Siward is a chilling indictment of how far he has fallen. Throughout the whole play, not a single emotional moment is left to chance. Webster has curated every possible mood out of every line.
As the titular role David Tennant gives a masterclass in acting. The Macbeth we first meet is relaxed, friendly and moves easily around the stage, even if somewhat battle weary. As he journeys into the depth of tyranny and ambition, his posture becomes increasingly tense
and aggressive, voice gratingly lowers and tonality becomes harsh and abrasive. Cush Jumbo matches him moment for moment. This is a relationship of two kindred souls – until it isn’t. She is dressed in white and the only character not to have a Scottish accent. Is she
the perfidious English?
Alongside Tennant and Jumbo, the cast double-up/ triple-up / quadruple-up a variety of roles, twitching with energy. Cal MacAninch’s Banquo is a terrific foil to Tennant’s work. However, Noof Ousellam’s Macduff just does not achieve the lofty heights of the production; I really did not care or believe him. As a comparison, Ben Turner in Fiennes’ Macbeth was devastatingly moving as Macduff (and the only performance which made that version watchable in any sense.) The character of Ross has always been problematic for me, seeming to be something of a fair-weather ally but Moyo Akandé delivers a Ross who becomes increasingly worried by Macbeth’s actions and makes a moral choice rather than a loyal one. Jatinder Singh Randhawa’s performance as The Porter perfectly shows the power of comic relief after a bloody murder. He smashes the tension, plays with the audience, and then throws us back to the terror. It is not fully the original script, but serves the purpose Shakespeare wanted at this stage of the play.
And at the end, Birnum Wood has come to Dunsinane. Of course it has. All prophecies fulfilled, as is their nature. Should anyone ever ask, “But what does a director DO?” – just point them at this production.
It is chilling and powerful. Best Macbeth I have ever seen and I have seen many.
Kate Stratford, On The Screen
