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REVIEWS

Review Macbeth 2020

Review By: Cynthia McCaughan

October 2020

Presented in the old church at Kingsdown Manor, the soaring space and gothic windows evoked a different time and place. The audience occupied two long tables on each side of a central aisle, as if in a banquet hall, which made viewing the action a challenge. Cast members sat quietly at the front: all was calm. Then, larger than life, the weird sisters, played by Kimble Henderson, Sasha Frame and Katie Parenzan entered from behind the audience, trailing cloaks of white, brown and black, chanting in rounds rather than unison, the words repeated, doubled and reverberated. Instantly the atmosphere was transformed. Hair stood up on arms. We were no longer an audience, but in the thick of it; wide awake, witnesses - fellow conspirators, even.

Not ugly witches but strange beings - part spirit, part winged beast, the weird sisters remained onstage for most of the play, perched above the cast. Their postures, wails and screams in response to other character’s lines throughout, literally made the audience jump in their seats. This device reminded us that invisible but powerful forces were at play. They cursed and protected; they hid and revealed; the sisters periodically stretching their ‘wings’, concealed the dead Banquo, then revealed him to a horrified Macbeth.

Macbeth, played by Dave Mortimer was superbly cast. The Scottish accent comes naturally, but the attention to detail – the Celtic spiral shaved pate, and his expressive, yet often subtle movements, especially in his asides when he agonised over his decisions   . . .” Is this a dagger which I see before me, The handle toward my hand?” or cringed in revulsion at Banquo’s ghost had the audience’s rapt attention, if not sympathy: here is a real man who begins as a hero with faults, tender to his wife, but who is soon caught up in an ever downward spiral.  Too late, Macbeth realizes by his bloody deed he has ‘murdered sleep’; his peace of mind - “Sleep that knits up the ravell'd sleeve of care, The death of each day's life, sore labour's bath, Balm of hurt minds. . ,“ - thus the sub-title of this production;  Sleep no more  becomes apparent.

Anita Dawson powerfully conveyed the sheer nastiness of her character, the ambitious Lady Macbeth. She was terrifying in her own ambitions and relentless drive of Macbeth when he wavered. She spits out her scathing criticism privately to Macbeth when he breaks down in front of guests and in the next breath is sweet falsity, swiftly reassuring the crowd.  It almost comes as a relief that she is consumed by madness and loses the plot with sleep walking and excessive handwashing. Macbeth, when he learns of his wife’s demise gives the memorable observation:

Life's but a walking shadow, a poor player

That struts and frets his hour upon the stage

And then is heard no more: it is a tale

Told by an idiot, full of sound and fury,

Signifying nothing.

Banquo, former friend then victim to Macbeth’s paranoia was played by Tim Sherry, another accomplished actor who brought presence to the stage. Sherry’s skill was evident in the most dreadful gurning and grimacing, a silent but powerful revenge on Macbeth. 

Malcolm played by Kate Low and MacDuff played Ashton Buckingham also give vibrant and assured performances, Low bringing a strong noble bearing to her role, while MacDuff’s disbelief at his family’s murder was particularly moving, translating to his furious final dispatch of Macbeth: “I have no words: My voice is in my sword”. David Henderson who appears as both Duncan and Siward, too was believable in his roles.

The porter, ably played by Lizzie Dawson, provided a foil to the main players as a commoner: a wry observer and humble servant. Hilarious satire introduced in the form of the “Porter’s poem” by Andrew Paul Wood, especially commissioned for this production, was another chance for interaction with the audience. Full of saucy alliteration which drew much laughter, the allusion to modern day society and politics; self-absorption, ambition, greed and down-fall reminds all that the “Scottish Play” makes for a timeless tale.

From teens to those with decades of experience, many of the company played multiple parts. Aided by a slight change in hairstyle, costume or props; the audience had to keep their wits to identify new characters. Clever direction meant the entire space was used for unexpected exits and entrances, with apparitions appearing at the side and soldiers advancing through the midst of the audience.  Attention to detail, such as the slight pause the assassin gave before plunging the knife into the cradle of baby MacDuff emphasized the horror of Macbeth’s relentless murdering purge.

Excellent voice projection, intonation and pace made the different characters and their stories authentic and relevant. It is a challenge to bring Shakespeare’s language alive to a modern audience, realistic pauses, gestures and interaction between the players makes this believable, all the more commendable given the company achieved this rapport with rehearsals disrupted by lock-down.

Effective use of percussive devices, drums and door-thumping added to the suspense, although for this viewer, the supposed hoof beats were too regular to identify as such – a minor quibble. Lighting was well managed, and other effects like the cauldron “smoke” added to the atmosphere. Props, although minimal were on point; enough to give the suggestion without being distracting.

The op-shop-meets-Outlander costumes were created with much thought and flair on a tight budget. Clever restyling of several existing garments into one, some inside out, others patched with tartan, combinations of braids, trimmings, brooches and buttons, hand knitted helmets and neck wear lent a quirky grunge style to the production. However, Lady Macbeth’s undeniably beautiful kimono seemed oddly out of place for a play set in 11th century Scotland. In contrast the plain golden band that crowned the kings; Duncan, Macbeth, and finally Malcolm was perfect in conveying all it signified in its simplicity.

In all I found this production fast paced, exciting and enthralling. To be captivated and moved by a play that has been seen in so many forms over the years is a credit to the clever direction by Gail Tatham and the commitment from the various actors and the production team to bring their vision to fruition.  Aidan Theatre Company can be justly proud of this production.