MACBETH. To 1 December.
London.
MACBETH
by William Shakespeare.
Gielgud Theatre To 1 December 2007.
Mon – Sat 7.30pm, Sat Mat 2.30pm.
Runs 3hr One interval.
TICKETS: 020 7494 5065.
Review: Harriet Davis 2 October.
Bloody, bold and downright resolute.
There have been many attempts to modernize Shakespeare’s bloodiest tragedy, but few have achieved the potency and relevance of Rupert Goold’s extraordinary production, from the 2007 Chichester Festival season. Here, the Scottish play is given a Russian twist, played out in the tense atmosphere of a totalitarian state. None are to be trusted, least of all those in authority.
Goold keeps us on our toes throughout; never is a moment wasted between Macbeth’s first murderous act and the ever-escalating bloodshed that follows. Crucially, Goold provides a plausible backdrop, giving the sense that Macbeth’s actions may not be singular; other shadowy figures could very well be waiting to step into his shoes.
Patrick Stewart makes an excellent Macbeth, a chilling dictator who remains painfully self-aware throughout. Kate Fleetwood is equally strong. Her Lady Macbeth is a tyrant; a smiling snake in the grass with the unnerving ability to slip into any role, be it doting housewife or honourable host. Fleetwood looks a Lady Macbeth, tall, slight yet strong, with handsome, jutting features. Also notable are Michael Feast’s wonderfully understated Macduff and Scott Handy as Malcolm, last seen in Goold’s equally compelling Faustus at Hampstead Theatre.
The witches appear twice in subservient roles, firstly as military nurses then later as domestic servants. Both present and invisible, they serve as a constant reminder of Macbeth’s fate. They also possess a terrifying ability to manipulate the dead, at one point literally breathing life into corpses. Despite the effectiveness of this scene – and others similar – the witches feel showy, an overly self-aware modernization that jars with the tone of the rest of the piece. The scene in which they rap their lines is especially misjudged.
Anthony Ward provides a striking set, a white-tiled pseudo-military room with a functioning double-grilled lift. This is to become something of a set piece for the scene involving Banquo’s ghost, ingenuously played out twice; once through Macbeth’s eyes and once through his guests’. Goold’s production is full of such innovations, presenting the play afresh. With its gory effects and invasive music it may not be to everyone’s taste, but it is undeniably brave, bold and effective.
Duncan/Scottish Doctor: Paul Shelley.
Malcolm: Scott Handy.
Donalbain/Young Seyward: Ben Carpenter.
Macbeth: Patrick Stewart.
Banquo: Martin Turner.
Macduff: Michael Feast.
Lennox: Mark Rawlings.
Ross: Tim Treloar.
Angus: Bill Nash.
Fleance: Robert Madge or Ben Rowe/Ben Williams.
Old Seyward/Murderer: Christopher Knott.
Seyton: Christopher Patrick Nolan.
Bloody Sergeant/Murderer: Hywel John.
Lady Macbeth: Kate Fleetwood.
Lady Macduff: Suzanne Burden.
Macduff Children: Shea Davies, Charlie Evans, Naomi Preston-Lowe/Poppy Lee Friar, Miel Kleinman, Piers Stubbs/ Nicholas Brown, Emily Miles, Tianna Webster.
Witch: Sophie Hunter.
Witch/Gentlewoman: Polly Frame.
Witch: Niamh McGrady.
Lady Macbeth’s servant: Oliver Birch.
Director: Rupert Goold.
Designer: Anthony Ward.
Lighting: Howard Harrison.
Sound/Music: Adam Cork.
Video/ Projection: Lorna Heavey.
Movement: Georgina Lamb.
Fight director: Terry King.
2007-10-04 17:30:37