“Macbeth” is one of William Shakespeare’s most famous tragedies, written around 1606 during the reign of King James I of England, who had a known interest in witchcraft and Scottish history. The play is loosely based on the real 11th-century Scottish king Macbeth, although Shakespeare took major creative liberties with the historical facts.
Shakespeare’s Macbeth is a Scottish general, who encounters three witches who prophesied that he would become King. Driven by ambition and spurred by his wife, Lady Macbeth, he murders King Duncan and seizes the throne. Consumed by paranoia, Macbeth commits further atrocities to secure his power, including the murder of Banquo, his friend, and Macduff’s family.
Lady Macbeth, overwhelmed by guilt, descends into madness and dies. Meanwhile, Macduff and Duncan’s son, Malcolm, lead a rebellion against Macbeth. In the final battle, Macduff kills Macbeth, fulfilling the witches’ prophecy, and Malcolm is restored to the throne, bringing peace to Scotland. Shakespeare uses a lot of recurring supernatural and eerie themes, his most famous would be the reference throughout to blood, symbols of guilt and violence.
When I heard this would be a modern adaptation with the era unspecified and the location anywhere that is shattered by the effects of years of war and deprivation, I was concerned the supernatural elements of this play might be lost. I should not have worried.
The moment I walk into the auditorium the scene is set to the sound of gunshots, visually three nurses are operating on the captain played by Tom Macauley, writhing in agony. The room fills with injured soldiers and the striking effect of the ceiling lamp swinging and lights flickering, creating a morbid field hospital. The three nurses transform into the three wyrd sisters played by Michelle Louise Scott, Alfi Levy and Natalie Tebbutt. Their sinister stares and mastery of physical theatre give gravitas to their foreboding.
The three witches then meet Macbeth and Banquo in the woods to foreshadow the plot. We are introduced to two formidable actors. Andy Longley-Brown as Macbeth takes you on the journey from soldier to tyrant; a tour-de-force portrayal, every word rolling easily and eloquently within his delivery. Banquo is played by Max Maher, an understated yet powerful Banquo. His still, piercing, menacing stare as his ghostly counterpart sends shivers down my spine.
Lady Macbeth (Rachael Barker-Evans) portrays her as power-hungry to psychotic. With a fluid naturalistic style, she times her demise perfectly, the famous ‘out-damn spot’ scene has movement and sincerity.
Macduff, is a powerful role and it demands a powerful actor and, in this regard, Steven Feeney delivers on all fronts. His use of the pause then building his anger after hearing about his wife’s death is immense and resonates through the audience. The fight scene with Macbeth is of cinematic quality, brutally and beautifully choreographed by Sam White
From that very first step into the auditorium, there is our first glimpse into a masterclass in sound and lighting. The soundscaping (Amanda Priestley) creates a strong and eerie emotive atmosphere, timed to perfection and never overwhelmed but totally complements the performance. Lighting by Jeremy Thompson is brilliantly designed and not a cue out of place, washing the stage with blood red colours at key moments and understanding the power of a dimly lit stage to emphasise darkness. Whilst I don’t want to give away any spoilers, the combined creative force of sound and lighting in Act 2 in the deserted field hospital is both mesmerising and terrifying in equal measure.
The set is static which allows for quick scene changes and resembles war-torn buildings reminiscent of recent conflicts, the stage is divided into two main areas, one with a checkered floor and kitchen, handled brilliantly by Stage Manager Sian Williams. Costumes (costume designer John Bale) are modern and emphasise rank and authority. Props capture the any-era vibe, special credit to Anna Field for the detail of the field hospital.
The remaining cast, many playing multiple parts, are of an extremely high standard and echo the vision of director Jane Towers and elevate the production magnificently. I can hardly believe this is a first night performance. There are no prompts, miscues or mishaps and not a trace of first night nerves.
In summary, I must emphasize the fantastic work that has gone into this production by the director and cast through their clarity, and captivating performances. If you find Shakespearean language hard to follow, the story telling and high-quality acting makes Shakespeare accessible. A must-see show
Macbeth is running 16th April to 3rd May at The Little Theatre Leicester.
Macbeth photos credit: Jonathan Pryke