Written by William Shakespeare
Directed by Rufus Norris
National Theatre Production
This Rufus Norris directed production of Macbeth was a sell out at the National Theatre earlier this year. The 2018/2019 National Tour commenced at The Lowry, Manchester. Set in a post-apocalyptic world, this production looks bleak, dark and intensely moody throughout. Norris clearly intends his Macbeth to attract a modern audience at home with World of Warcraft and The Waking Dead. With Macbeth on the GCSE syllabus this production aims to engage with students new to Shakespeare. So with a hopeful heart, I took my somewhat reluctant teenage daughter along as she is currently studying the play at school.
There is much to admire in this production. The Rae Smith set design is startlingly beautiful, glistening and mournful, it perfectly captures the mood of the piece. A metal bridge dominates the set, swinging back and forth across the stage like the warring factions fighting over a piece of turf land. This assists in adding dynamism to a production that at times can appear surprisingly static. The overall appearance is of a hopeless place with dank accommodation that creates a sense of a world in flux. Homes are breezeblock husks with scarce furnishings reminiscent of refugee camps which serves to drive home the ugliness of war and displacement.
Despite the gloom there are moments of vivid colour such as the highly effective splash of red in the gaudy pimp suit worn by Duncan and later by his successor Macbeth. The theme of “To beguile the time, look like the time” is used throughout this production. The celebration dinner for Macbeth comes truly alive as a generator is cranked up on the stage illuminating fairy lights and pumping out music like a street party from a scene in the Paul Abbott show Shameless.
The witches or weird sisters seem woefully underused. Gossamer clad and unworldly the three aerial performers perfectly conjure up the supernatural aspects of Macbeth. Clambering up the unnatural trees, their eerie voices are projected through the theatre bringing a real sense of magic. The supernatural themes also work well when the ghost of Banquo appears in a haze of ghostly phosphorescence.
There is an interesting emphasis on the lost children of war and conquest. Lady Macbeth, wonderfully played by Kirsty Besterman is lithe and bristling with animal energy which if not turned to suckling her young will then create a fertile ground for political ambition. As she descends into madness, her casket is opened to reveal the poignant tiny babygros of thwarted motherhood. Baby heads are worn by soldiers to warn of the impending massacre. Gruesome scenes include slaughtered babies, concealed in plastic shopping bags being casually dropped at the feet of Lady Macduff. The futility of war is perfectly summed up by the wretched shock of Macduff as he asks, “All my pretty ones? Did you say all?…In one fell swoop?”
The cast are strong and seem at home with this production, however the style in which the dialogue is delivered may be in tune with this production, but it loses a lot of the drama and poetry of the original. Equally for a production at least partially aimed at a young student audience the cuts made here may confuse. Certainly my daughter was very aware of certain speeches she was learning at school which were missing. Perhaps it is a mistake to assume that young people who can spend hours sat in front of an Xbox cannot cope with 3 hours plus in a theatre. This may be one instance where “to beguile the time, look like the time” is slightly out of time.
Production images Brinkhoff Mogenburg