Macbeth (an undoing), Rose Theatre Kingston Review

Reviews

14 Mar

`Nicole Cooper in Macbeth (an undoing). Photo by Ellie Kurttz`

Written by Cathie for Theatre & Tonic

Disclaimer: Gifted tickets in exchange for an honest review.

General warning: flashing lights, smoke, swearing, blood, scenes of a violent nature

There are few plays more famous than the “Scottish play”. It has more superstitions surrounding it than most and is immediately recognised when quoted. You might have studied it in school, or at least heard your English teacher discuss it and your mind was on a tangent when you were desperate to avoid working in class. Therefore, in this horseshoe-styled theatre I was delighted to have any expectations completely blown out of the water. on

We are introduced to each act beginning by Carlin (Liz Kettle), who in true Bard fashion, mocks the tragedy and the audience equally as “ghouls who’ve come to enjoy the bloodshed, vultures who long to see the violence unfold”. This is done to hilarious effect and makes the drama that unfolds that much more shocking in contrast. I would pay a great deal to see Kettle narrate more Shakespearean plays as her masterful breaking of the 4th wall like an errant spiderweb was beautiful to behold. She reveals the bare set with a flourish, and as the smoke rolls in the eeriness begins.

The first act is a fairly normal replay of Macbeth, including terrifying witches, mercurial prophecies and the gory murder of King Duncan at the ambitious urging of Lady Macbeth. Banquo (James Robinson) is suitably warm, loyal and heroic while MacDuff (Thierry Mabonga) is equally austere and standoffish. However, the second act is where the “undoing” appears and the fate of the characters is unravelled by the three witches as Fates into an entirely new version.

In this adaptation by Zinnie Harris, it is Lady Macbeth who takes centre stage with the most dialogue, the most action and the most power as the Scottish tyrant desperate to escape the gruesome tragic narrative at any cost. Nicole Cooper was mesmerising to watch as the cunning Lady Macbeth. At a turn of phrase, she was ruthlessly practical, and ambitious to the point where Machiavelli would be rubbing his hands in glee and painfully vulnerable at the least expected moments. Her close sisterhood with Lady MacDuff (Emmanuella Cole) and the relationships sinister unravelling was achingly tender and painful. When Macbeth collapses into insanity it is she who holds power in an iron fist and cold calculations. She does so well that all courtiers start referring to her as King because they cannot see past her authority to her womanhood. Despite her sacrifice, her hands remain bloody and continual dress changes, as their pale silk grows increasingly blood stained cannot change the ending of this tale.

Although the blood literally starts to pour at points, Lady Macbeth still manages to seem sympathetic as she grieves over her dead children and infertility difficulties. This is exacerbated by her desperation to keep Lady Macduff and her child in the castle so she can safeguard them from any harm. Although she breaks the 4th wall to proclaim that this is not in the script and calls desperately for support, nothing can save any of these characters even as she’s literally handcuffed to a hospital bed or led off stage in a straightjacket. Adam Best is a very vulnerable Macbeth in contrast, not sleeping for 30 days and continuously washing his hands to attempt to remove its eternal blood stains. He is subdued and malleable in the hands of his loving wife and the violent break down of their initially strong marriage into turmoil and murder was very well written.

The austere set design by Tom Piper glitters and bends the light in an unrelenting and stark way. Mostly comprised of walls of mirrors and minimal use of modern furniture means that the characters are brutally faced with their actions and its consequences with no chance to hide. The modern clothing also works very well to ground this production into the present day.

This is a phenomenal adaptation of Macbeth and breathes new life into this haunting murderous thriller. It is only on until the 24th of March so if you are a lover of Shakespeare, curious of the rich inner lives of his female characters or enjoy witty thrillers, in general, I urge you to run to the Rose Theatre to see this brilliant adaptation as soon as possible.