A stark production of the Scottish Play that will please aficionados but could leave Shakespeare novices scratching their heads.
Director Paul Miller has teamed up with John Simm, ten years on from their production of Hamlet at the Sheffield Crucible. Simm has said that they have a three-play-plan and will team up again in the future for a production of King Lear.
The staging of this production is extremely sparse. The stage is a large glass circle under which is a rocky floor. At various points the stage opens and seems to devour various bodies as they are despatched by the actors. The backdrop is dark glass that has various images and words projected on to it during the production. At times the glass clears and silent scenes take place behind it. This is used to particularly good effect as the King feasts, while Macbeth and his wife plot his murder on the stage in front.
I had never given too much thought to the term “Shakespearean actor” surely it is just an actor who performs in Shakespeare plays but Simm’s performance in the first half of the play suggested he had some way to go to claim that title. The character has so much dialogue that one does marvel at the actor’s ability to learn, remember and deliver it all. However, in the first half, it feels like that is all Simms is doing and while it is an impressive feat it does not bring the character to life. My viewing companion commented at the interval that it felt like watching a rehearsal – everything was being delivered correctly but the passion and drama was lacking.
The second half of the performance could not have been more of a contrast. Macbeth is haunted by Banquo’s ghost as paranoia consumes him, and Simm absolutely shines. In the final scenes as he sits on his throne cloaked in the arrogance derived from his belief of his invincibility Simm is magnificent and every inch a Shakespearean actor.
As Lady Macbeth, I did not feel that Dervla Kirwan quite delivers the cold-hearted, scheming manipulation levels that the part demands particularly in the scenes where she is cheer-leading her husband to murder. However, her more gentle style makes the character’s break-down as guilt consumes her, quite heart-breaking to watch. The scene where she frantically tries to wash blood off her hands as she sleepwalks is beautifully delivered.
Michael Balogun who plays MacDuff is a superb actor. He played the doctor in the National Theatre’s 2018 staging of Macbeth and I would certainly like to see him in the title role in a future production.
Stuart Laing plays an excellent Banquo. Special mention to Mark Doubleday the lighting designer; the very sparse staging demands superb lighting and this is very much delivered, in particular for Banquo’s ghost who is brilliantly lit.
Conversely the music and sound do not enhance the production anywhere near as well. The actors’ mic levels were a little hit and miss, with some so low that it was a struggle to hear their words, in particular the King. Background music was used effectively at times but too often drowned out the actors.
I, unlike many critics, loved the 2018 National Theatre production of Macbeth. It was my first viewing of the play and while I had an idea of the story, the staging of that production really worked well to enhance the narrative being delivered by the actors. The very stripped back staging of this production means that everything rests on the spoken word. Anyone familiar with the text can sit back and luxuriate in the actors’ performances but anyone looking to engage with this play for the first time may struggle.
Review by Emma Heath
Photo: Manuel Harlan
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