Macbeth

 

24^th June 2023
Keats House
Rating: 5 Stars

A restoration of faith…….

I love Shakespeare. What actor doesn’t? Unfortunately, I had my faith in the Shakespeare community shattered, after witnessing a truly awful production of ‘The Taming of the Shrew’ in 2020 by the Royal Shakespeare company. This career ending performance is the only one I have walked out of before the final curtain. You’d think after this I’d be done with Shakespeare for good…….Thank you Drama Impact for restoring my faith.

Behind ‘The Taming of the Shrew’, ‘Macbeth’ may just be one of the highest risk Shakespeare plays to stage. There’s a reason why if your play was bombing during the Elizabethan era it would find itself being replaced with ‘Macbeth’. Quite simply ‘Macbeth’, when done well, kicks a**e! On the other side of the coin though, when done badly there’s nothing worse. I once spent four hours watching a painfully slow adaptation of the Scottish play. Eye gouging doesn’t quite cover it. Anyway, enough of my theatre viewing history, let’s talk Drama Impacts production of ‘Macbeth’.

Set in the charming grounds of the historic Keats House, on one of the hottest weekends of the year, Drama Impact comes across every challenge of outdoor theatre. From the clearly modern elements of Keats Houses architecture to the sound of road traffic. Drama Impact not only over comes these challenges but makes them a complete nonentity.

Staged in the round, Drama Impact envelopes you in the world of the doomed warrior king Macbeth. The sound of drums, lit torches, and hooded figures, give the impression that you have entered another world. A world of sacrifice, witchcraft, and omens. The players move around the audience and through the trees that surround the area, until you constantly find yourself glancing over your shoulder afraid you will miss part of the action.

Action, Macbeth has plenty of that. However, action is meaningless without actors. Without large scale sets and a multitude of props, it’s the actors that carry this production. Paul Boichat and Joanna Nevin play the titular couple of Macbeth and Lady Macbeth, bringing to life the plot to assassinate King Duncan (Played by director Martin South). Both Boichat and Nevin bring an interesting dynamic to their roles, playing them as long-time lovers who have a deeply embedded passion or lust for each other. One can’t help but think that they are both each other’s undoing, as they lead each other down the path of no return. This aspect is particularly showcased in Nevin’s portrayal of everyone’s favourite mad queen, Lady Macbeth. Conventionally, this character is shown as the criminal mastermind who steers Macbeth towards his evil ends. However, Nevin and Boichat’s relationship is more balanced, allowing for a greater impact when we witness her descent into madness. This descent is portrayed both truthfully and I daresay beautifully by Nevin, in which could very well end up being a career defining role.

As solid as these performances are, it’s the supporting roles which really stand out. Banquo is usually portrayed as a gruff warrior of honour, contrasting with Macbeths sly and dishonourable character. When you look at the list of past actors who have played the role you immediately find names such as Brian Blessed, Graham McTavish and Brando Eaton, only adding to the stereotype. With this in mind Leon Wander’s portrayal of Macbeths second is pleasingly refreshing. Here we see a man who is as confused, trusting and ultimately horrified as anyone would be that scenario. There is something instantly relatable about this Banquo. In this world of magic and blood, he may be considered the closest thing the audience have to a mouthpiece.

That’s not to say there aren’t some great warriors in this piece. Ryan Williams portrays Macduff with all the passion and fire you would expect from a warrior chieftain, while Andy Canadine and Martin South perfectly present two warriors from wars gone by as Ross and King Duncan respectfully. A special shout out however must go to Miles Blanch for his characterisation of Malcom. As much as I don’t wish to criticise the Bard, you can occasionally find roles which are always endanger of fading into the background. Curio in ‘Twelfth Night’, France in ‘King Lear’ and Robin Starveling in ‘Midsummer Nights Dream’ all fall into this category. In the hands of an unskilled actor the role of Malcom would also be consigned to this fate, however Blanch gives an immensely truthful performance as a young prince who goes beyond his perceived limitations to become king.

Now those of you who know anything about Macbeth will have probably noticed that I’ve left a few characters out. Yes, this was deliberate and yes it was to add dramatic effect. The stars of this production are undoubtedly the witches. Played by Niamh Handley- Vaughan, Jed Mcloughlin and Frida Rodbroe, these characters don’t just steal the show but rather tie it up and hold it to ransom. From the very beginning, these shadowy figures are there. Lurking at the back, bringing us into their world, making us gaze at the devastation they have wrought and in one instance anointing us in some form of pagan ritual. Director Martin South made the genius decision to have these performers multirole the other remaining parts, giving the impression that the witches influence is deeply imbedded in everything we see. Handley- Vaughan, Mcloughlin and Rodbroe’s effortless multi-rolling combined with flawless supernatural movement isn’t just terrific acting, it’s a masterclass in performance.

Martin Souths ‘Macbeth’ is a perfectly paced, initiative and gripping production. Where were you Drama Impact when I needed you most? The Royal Shakespeare Company could have learned a thing or two from you back in 2020……even if you did cut the character of the Porter!