William Shakespeare’s ‘Macbeth’ – Shakespeare’s Globe

19 Jun 2010 2 Comments

by StellaB in Theatre Reviews

With a famously dark play like Macbeth, a play that some actors and directors won’t even perform because of “the curse”, it seems appropriate, necessary even, to completely throw yourself into that damned, bloodthirsty world. Lucy Bailey’s new production at The Globe is about as bloody and dark as it could be – a sign outside the door reads “This is a gruesome production of a brutal play” – and yet, it isn’t too much. In amongst the groundlings, writhing, bloody bodies desperately claw at the audience, screaming and moaning in pain, and onstage things are just as callous. The stage was hung with black curtains and populated by men in black outfits, before an audience whose heads popped up through slits in a huge black cloth – enabling the weird sisters and the damned souls to roam the audience, sliding between us and frightening everyone. Characters appeared from every direction and in the audience, once you had found where to stand, you really were pretty much stuck where you were, trapped in the middle of the action.

As the weird sisters (witches) Janet Fullerlove, Simone Kirby and Karen Anderson wore red and had sickly white painted faces. Between the three of them, they worked the entire stage, glaring with weird intensity at the audience and spitting their lines out, cursing everyone. They were brilliantly bizarre and, for lack of a better word, utterly witchy.

James Clyde’s Duncan was powerful and regal right up until the point of murder. He commanded the stage and spoke clearly. True, he didn’t bring anything new or astonishing to the part, but he played it with complete conviction.

Meanwhile James McArdle gave a spectacular performance as Malcolm, almost stealing the show from his more senior co-stars. He was funny and powerful and youthful all at the same time, displaying an incredible understanding of the part and showing us just how wonderful a role Malcolm is. This was especially poignant in his scene with Keith Dunphy’s Macduff, where the two came together and created a powerful display of what it is to be masculine. Despite the fact that Macduff is not named for quite some time, the moment Dunphy stepped onstage it was clear who he was playing. Pacing the boards with casual but strong difference, balancing the role of a ruthless man of action and a good hearted avenger perfectly.

In the role of Macbeth, Elliot Cowan just about managed to outdo his co-stars – which is necessary when playing this part. His voice was naturally quite low and soft, but in an almost warning way, rather than a soothing way. He growled and purred through his lines, his danger and fear haunting every word. Likewise, his physicality was wonderful. He strode the stage with a power he seemed almost afraid to hold. Furthermore, his scenes with Lady Macbeth, played by Laura Rogers, were fraught with palpable tension, their chemistry clear and evident. Alone Rogers was equally impressive, owning the part entirely, displaying first a cold, cutting understanding of the world of men she lived in, and then a bloodthirsty desire for power. This was made all the more poignant in contrast to her “I have given suck” speech”, which was spoken with intense, haunting calm.

By comparison Christian Bradley’s Banquo was the epitome of good and honest. His friendship with Macbeth was loyal and strong and his relationship with his son was heartwarming. He delivered his lines with power and understanding. In short, he was the ideal Banquo.

Finally special notice should also be made of Frank Scantori as the Porter. Delivering perfect comic relief he had the audience laughing and wincing in equal measure. Perfect entertainment.

In short, this is a practically flawless production that will quite rightly have you wincing in pain and disgust as often as you are amazed or impressed by the skill and overall inspiration of the production.

Macbeth, directed by Lucy Bailey for Shakespeare's Globe 2010

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