Putting on a Shakespeare play is always a massive undertaking, considering the sheer volume of lines, the complexity of the themes and the challenge of finding the modern resonance within a show written many centuries ago. Yet Theatre Group’s production of Macbeth – which is in the Annex until the 29th March – admirably succeeds in putting on a thrilling, magnetic run that is wonderfully and thoroughly entertaining. Most of us are not unfamiliar with the play, having been subjected to it at some point in our education, but it was so refreshing to see a talented group of actors (and a dedicated production team behind the scenes) take on the grippingly tragic tale of deceit, ambition and political intrigue.
The production teams for these shows are always stunning and commendable, and it was obvious how much effort had gone into putting on this show. All three directors (Louis Cleave, Sam Duffy and Luca Blahut) made their TG directorial debut for this production, so congratulations are very much in order for these three fab creatives – there were so many highs of this show. I enjoyed the focus on visuals in this production: at every turn it made such consistent and wonderful use of starkness. The all black flats and tab created an intense theatrical space, and as soon as the actors took the stage it forced the focus onto them. In line with this, the costuming by Raphaël Trottier and James Stark – from the crisp suits and sharp khaki jumpers to the elegance of Lady Macbeth’s green evening gown – encapsulated the characters so well, again really engaging the audience to focus on character. I particularly enjoyed Malcolm and Donalbain in cashmere jumpers and linen – nothing screams ‘spoiled prince’ like yacht club chic! The iconography of the dagger in all the promotional materials is so evocative and all the publicity was stunning thanks to Cicely Donnett, Daria Telega, Tara Jhawer and Emma Leeson, and the actual onstage daggers did not disappoint either! From swishing blades to the fantastically gory fake blood (which I can’t imagine is fun to scrub off your hands every night, but hey – that’s one way to get into character!), so props (I’m very much stealing a joke from the programme) must be given to Ben Mansell along with the rest of the fab Assistant Producers: Maya Weeks, Emma Fround, Micol Yu and Jessica Reeves – no theatrical production gets off the ground without a stellar army of producers. I was also so impressed by the fight choreography in this production, thoughtfully crafted by James Warner and Cerys. The fights were gripping and really immersive, with Macbeth and Macduff’s final skirmish full of all the tension, fury and action required to round out a Shakespeare play.
Now, having studied and taught Macbeth for years, I thought these characters couldn’t surprise me, but this cast had me rethinking my confidence. The supporting cast gave excellent performances: their multi-roling was very impressive, with each new character thoughtfully portrayed. Ewan Macmillan’s porter cameo was especially enjoyable, as was the extent to which ‘comedy duo’ Lennox (Finn Roberts) and Ross (Tilly Healing-Perry) delighted in his ramblings. These three overall achieved a lovely moment of levity which contrasted their otherwise brilliantly serious treatment of the plot. Macmillan swung effortlessly between the porter’s dry, drunk commentary and the doctor’s grave seriousness, and Roberts gave a very emotive performance as his character discovered Duncan’s death. Equally, Healing-Perry had a refreshingly enthusiastic delivery of Ross’ lines, which really lifted the complex verse to feel conversational – this is no mean feat. Olivia Garrido Ybañez likewise did a great job of swapping between her characters and really bringing the sense of foreboding as one of the murderers. Jagruti Lohit’s Lady Macduff was so sweet and really played on my heartstrings, I really enjoyed Luke McCrone’s pompous Duncan (as much as I enjoyed the image of him sitting in Stag’s once Duncan dies in Act 2, as he notes in his bio).
I look forward to every production of Macbeth’s interpretation of the witches, and this production’s directorial choices were very fun for the three crones. Tezni Williams, Nevedya Nair and Mars Stephens’ witches were creepy, lurking figures, who not only performed their own scenes evocatively, but also crept into the background of pivotal scenes where they are not scripted. During the scenes where the prophecies were coming true, the technical capabilities of Stagesoc were well utilised in having some lines reverberate with the witches’ voices – come and see the production, and the hairs on the back of your neck will stand up in these parts!
Banquo, Malcolm and Macduff were also really standout performances. Charlie Pearce is FABULOUS at Shakespeare – her delivery is full of colour and intention and she makes complex poetry feel like an accessible conversation. Her monologuing in Act 4 exemplified that her acting is impressively nuanced, just like Jessica Scott’s Banquo. From her first line, Scott expertly contrasted Zayn Khan’s Macbeth: she embodied Banquo’s groundedness and earnest fury in juxtaposition to Macbeth’s panic and performativity, and her expressions expertly portrayed Banquo’s slow growing suspicion. Nick Skordellis played Macduff with all the righteous anger and heroic spirit you could want from the play’s hero, especially shining as he portrayed Macduff’s visceral grief, and during his final battle with Macbeth.
Last but certainly not least – the scheming couple themselves were phenomenal. Zayn Khan’s Macbeth was captivating from his first moment onstage, and not enough can be said to praise his performance. Khan took historic soliloquies and breathed new life into them, transitioning from restless uncertainty to magnanimous villainy with intention. Eleanor Tippey’s Lady Macbeth was fearsome and forbidding, with Tippey mastering the low, warning tone that gave her interpretation of Lady Macbeth such gravitas. She was no witch, as Lady Macbeth is often played, but a very powerful woman. Tippey and Khan did a phenomenal job of chopping and changing the upperhand in their characters’ relationship and every scene of theirs was heightened. Lady Macbeth’s descent into madness was as dynamic as Macbeth’s pivot from deference to his wife to disdain for everything, and both Tippey and Khan should be proud of their compelling performances.
Overall, the use of very stark lighting and of static noise over intense moments enhanced the incredible performances of this cast, and I know the directors of this production must be very proud of their cast and their choices. This was a fabulous showcase of TG’s talent, and I can’t wait for more people to see these exceptional performances!
