In this new reading of Macbeth for Storyhouse, Jamie Sophia Fletcher amply demonstrates her avowed ‘passion for re-envisioning productions and reframing classic stories for contemporary audiences’. This is a vivid, punchy and hugely engaging telling of the tale of power-play and murder, which has something of a flavour of Quentin Tarantino about it.
The striking imagery of Andrew Exeter’s set design is apparent from the outset, presenting successive scenes like pages from a graphic novel, with bold illuminated boxes outlining segments of the set which Exeter lights in intensely saturated washes of colour. This is further augmented by projections from Daniel Denton which create pinpointed areas of focus and movement, and at times augment the text with boldly quoted words and phrases.
Costumes by April Dalton are an eclectic mix of styles, which serve as much as anything to highlight the social positions of the various characters. They also add nightmarish touches, turning the three witches into faceless, masked gangsters and Macbeth’s hired murderers into horse-headed hitmen. This device, as well as providing a surreal element and a hint at humour also helps to avoid any confusion from the traditional doubling of roles, by concealing the players’ faces at times. A crackling, electric soundscape is provided by composer and sound designer Sarah Victoria.
Robin Morrissey presents a dignified Macbeth who is carried along on the tide of doomed ambition mapped out for him by the weird sisters, and stirred into fruition by Yolanda Ovide’s steely-eyed Lady Macbeth. Morrissey is a tall, imposing figure on stage, with the ability to shrink when painted into corners by those pulling his strings, while Ovide smoulders cooly. Morrissey is at his most compelling in his banquet hall scene with a spectral Banquo (played really strongly here by Nishad More) and Ovide when she begins her descent into madness, much of which is played out in an emerald green bathroom surrounded by swirling apparitions.
There are characterful performances by the rest of the ensemble cast, including Mika Onyx Johnson as Macduff, and Roly Botha as his Lady Macduff, and Tasha Dowd, Pete MacHale and Kameron Skeene as Lennox, Ross and Malcolm, with Marc Mackinnon as the ill fated Duncan and the Doctor who ministers to Lady Macbeth. The cast is completed by a solid compliment of trainee actors and young performers emerging from the Storyhouse youth company.
Fletcher uses Shakespeare’s text faithfully and brings it to life with clarity and a natural rhythm, whilst making a number of cuts. Most prominent of these is the absence of the closing scene for Malcolm, Ross, Macduff and Siward, depriving us of Malcolm’s closing speech which offers a promise of reconciliation and a new king soon to be crowned. In this version [spoiler alert] the play ends abruptly with the beheading of Macbeth.
While there is tremendous energy and plenty of genuine horror under Fletcher’s direction, there are a few scenes that elicit some rather incongruous mirth from the audience (on press night at least) in particular some widespread laughter in response to the brutal murders of Lady Macduff and her young son.
All in all this is an arresting and boldly staged production which motors along at a fine pace and absolutely engages its audience. It is certain to win over newcomers to Shakespeare and provide a fresh approach and food for thought for those already familiar with the work.
Macbeth is at Storyhouse until 21st March, with tickets available here.
Star rating: 4 stars
Production Photography by Mark Senior
This review was originally written for publication by Good News Liverpool
Comments
Post a Comment