Macbeth - Review

Barbican Centre, London


***


Written by William Shakespeare
Directed by Polly Findlay

Niamh Cusack and Christopher Eccleston

The ever fabulous Royal Shakespeare Company presents the ever epic Macbeth by William Shakespeare at the gorgeous Barbican Centre until January 2019, with none other than Christopher Eccleston (making his debut with the company) in the titular role. It should be an absolute blinder with such a strong and perfectly brooding lead… but unfortunately, the production falls a little flat in pivotal places.

Polly Findlay’s direction makes much use of Fly Davis’ sparse and contemporary staging (complete with a doomsday clock counting down to Macbeth’s demise) which is easily filled by quirky performances. Eccleston is obviously excellent, conniving and believably nutty, thrown into turmoil by three of the creepiest and cutest witches to ever grace the stage. This ‘The Shining’ inspired turn added a layer of shivers to the darkness with the matching and overtly ominous red dresses hard to miss. Irish actress Niamh Cusack is the overbearing and ambitious Lady Macbeth, encouraging her husband to take what has been foreseen by the witches - a crown - with blood smeared every step of the way. Raphael Sowole brings an earthy and elegant edge to Banquo, the friend turned foe turned ghostly apparition. 

RSC regular Edward Bennett’s Macduff stood out, especially with his painful and stunning moment of silence as his wife and children’s murders are unveiled: a breathtaking moment in a fast-paced performance where there is barely time to take a breath. It’s good to see Bennett playing serious so well after his charming and hilarious turn in 2016’s Christmas double dose of Shakespearean comedy at the Theatre Royal Haymarket. 

This production embraced the menacing malice of Macbeth, with the countdown clock most menacing of all, which was a shame given such a strong cast and creative team. Kate Waters’ fight direction between Macduff and Macbeth was thrilling, as was the awesome illusions by Chris Fisher, with Eccleston disappearing and appearing with ease. These moments, however, felt somewhat few and far between, even with only a two-hour duration. This left it all feeling somewhat lacklustre when compared to some of the absolutely incredible Shakespearean presentations that can grace our London stages. 

Until 18th January 2019

Reviewed by Heather Deacon

Photo by Richard Davenport (c) RSC

Macbeth at the RSC - Review

Royal Shakespeare Theatre, Stratford upon Avon


****

Written by William Shakespeare
Directed by Polly Findlay

Niamh Cusack and Christopher Eccleston

Christopher Eccleston and Niamh Cusack lead a stylishly novel Macbeth that is likely to divide opinions. Set in modern times, Eccleston’s troubled Thane is palpably bewitched by the thought of gaining Scotland’s crown from the moment he first encounters the weird sisters. Eccleston captures the self-doubt and vacillation that ebbs away at Macbeth’s journeys both to and on the throne, delivering a clear interpretation of the fundamental flaws that corrode his character, from the moment he commits regicide until he in turn falls victim to it. The theme of time and moments is a strong pulse through the story of Macbeth and in this show, from Duncan's slaughter, an onstage digital clock counts the seconds down over a precisely measured two hours until Macbeth's death.

Eccleston may be good, but Cusack is sensational. Unsexed perhaps, early in Act One, but Cusack oozes a provocative, venomous sensuality throughout the first half that reminds one of a young Helen Mirren. Lady Macbeth’s soliloquies are amongst the play’s most powerful and Cusack dances through the verse. She is a joy to watch throughout – with her decline towards insanity sensitively and convincingly played out. A nod too for Fly Davis’ costume work on Lady M. Her couture (again, in the first half) is stunning and as a real life royal wedding looms, Davis’ dresses model a gorgeous contemporary chic, befitting British royalty in the 21st century.

Stanley Kubrick never made a film of Macbeth, but there are suggestions that Polly Findlay is doffing her cap firmly in the direction of Kubrick’s The Shining with this Stratford production. Remember those spooky twin girls in the Overlook Hotel’s elevator? Findlay has three primary school girls play her Witches and it’s an inspired decision. The lucky trio who scored the show’s press night were Elizabeth Kaleniuk, Aleksandra Penlington and Abigail Walter, all bringing a chilling sense of evil innocence to the plot’s infernal complexity. And then there’s the Porter, who’s usually confined to moments of comic relief after Duncan’s death. Here Findlay has him on stage virtually throughout, with Michael Hodgson imbuing this minor character with a further degree of supernatural wickedness and bearing an uncanny presence to Lloyd, The Shining’s bartender.

For the most part there is sound work in Findlay’s company, but some arrows fail to hit their mark. Edward Bennett’s Macduff offers a well crafted glance into grief as he learns of his family’s slaughter, but is too patrician and plummy to convince of his capacity for earthy, bloody vengeance. Likewise, more could be made of Raphael Sowole’s Banquo.

This is a modern, minimalist Macbeth (and one in which Lady M brilliantly uses a water cooler to help remove the damned spot). A glassed in raised platform offers glimpses of Glamis' privileged chatterati that could be straight out of The Ivy’s private dining room – while for those in the audience who may be struggling to keep up with the play’s themes. Findlay/Davis quirkily project key quotes from the text onto a screen above the performance space. The chosen words are not so much surtitles as potential essay titles, but with the text again forming a part of GCSE syllabi, there are likely to be many (secondary) school children in future audiences who will appreciate the gesture.

An imaginatively staged take on “the Scottish play” which, in its leading roles, is stunningly performed. All in all a bloody, good, Macbeth.

Where you can see Macbeth
Runs in Stratford upon Avon until 18th September 2018
Runs at the Barbican Theatre, London from 15th October 2018 until 18th January 2019
Broadcast live in cinemas on 11th April 2018

Photo credit Paul Stuart (c) RSC

The Curious Incident of the Dog in the Night-Time

Apollo Theatre, London

*****

Based on the novel by Mark Haddon

Adapted by Simon Stephens

Directed by Marianne Elliott



Luke Treadaway



The Curious Incident of the Dog in the Night-Time marks another National Theatre production to commence a West End residency. Simon Stephens’ adaptation of Mark Haddon’s best selling novel is a production whose brilliant conception defines excellence in theatre.

Directed by Marianne Elliott, the tale is of  Christopher, a 15 year old from Swindon who has Asperger Syndrome. The subject matter is vast, yet this story simply presents Christopher’s viewpoint of the world from his unique perspective, where happenings in his life are meticulously processed, and where each thought and sensation is often met with an inability to filter out and prioritise. Each event is a sensory challenge for him that he must overcome and when, in the play’s second act he ventures to London alone, we share his inability to process such a vast sensory overload that even a trip on the Tube can generate.

The programme notes that the cast and production team meticulously researched for the show. As Christopher, Luke Treadaway gives a performance that is one of the finest to be found in London. Unsensationally, but brilliantly, he depicts a young man, gifted in mathematics,  focussed on the challenges or questions that confront him, but blind to the subtle nuances of life. When a well meaning neighbour unwittingly spills the beans to him of his mother’s infidelity, we feel his pain at having to grasp such a huge revelation, yet note that his response is simply to assess his mother’s actions rather than to judge her behaviour. The brilliance of both written word and actor is inspiring and humbling. Treadaway is on stage throughout the entire play and audiences are encouraged to remain after the final curtain calls, where his character explains the mathematical Pythagoras theorem, displaying the comfort and satisfaction that Christopher derives from the world of numbers, where certainties can be easily proved.

The supporting cast have some fine members. Holly Aird as Christopher’s mother and Niamh Cusack as his teacher, both give beautifully grounded performances of compassionate care and support for the young man.

Elliott’s use of her ensemble to play both people and props is inspired. The company skilfully suggest revolving doors and the bustle of London, yet also, with the simplest of beautiful physical skills, lift Christopher to make him fly as he dreams of a career as an astronaut. The other star of the show is Bunny Christie’s design. With stage and walls marked out as graph paper and brilliant use of technology and video projection from Finn Ross, the audience are transported into just a tiny glimpse of how Christopher interprets the world around him.

This show is destined to become another National treasure and it cannot be long until, having crossed the Thames, it goes on to cross the Atlantic. Not to be missed.

Booking until August 2013