Yvonne Arnaud Theatre – until 24 February 2024
Reviewed by Heather Chalkley
3***
Director Richard Twyman has re-envisioned Macbeth with an intrepid and unique interpretation. Set in modern times, he nods to its relevance in today’s world of obsession, corruption and overcoming tyranny. The focus on the psychological and domestic landscape of the Macbeth’s, leads the first half of the play to be based in the dark, claustrophobic four walls of their home. The reframing of the three weird sisters is a testimony of the witch hunts that pervaded England, Scotland and most of Europe during the 16th century, when Shakespeare originally wrote the Scottish play. So much is packed into this new interpretation, it creates some disjointedness to the timeline and storytelling generally. One of Shakespeare’s best known plays, you do need to know the story before you see this production.
Full admiration for the cast, with no let up to the drama and intensity of the piece. The soliloquies by Laura Elsworthy (Lady Macbeth) and Mike Noble (Macbeth) are exceptional, giving you full bodied emotions to reflect the guilt, passion and psychological torture they are experiencing. Woven into the performance is the clear message that human acts can have supernatural causes. The bloody ghost of Banquo (Brian Lonsdale) is as chilling for the audience as it is for Macbeth (Noble).
The creative team create clever layers and atmosphere to each scene, using on stage and handheld cameras projected on to overhead screens, that form a natural part of the set. It allows close ups at poignant moments. It enables us to see what Macbeth (Noble) was seeing in his torment and no one else in the room. It supports us to envision scenes beyond the home of the Macbeth’s.
The hope for a better future for the next generation is intrinsic to the play – if they survive! A play never for the faint hearted, this version will either incense or intrigue Shakespeare. The fact Will is not here to comment leaves me thinking, the director has cart blanche to not just alter the timeline but the script itself, perhaps condensing it for a younger audience.