REVIEW | Macbeth, The RSC
★ ★ ★ ★ ★
Reviewer - Roni
*Disclaimer: Gifted tickets in return for an honest review
The RSC’s latest production of Macbeth concludes their current season, and it would seem they are determined to go out with a bang. Pulling together a stellar cast and a breath-taking set design, the stage is set for a real triumph of a show. But can they deliver something truly innovative?
Macbeth is the infamous story of witchcraft, murder and treason. We meet the titular character and his companion Banquo as they happen across three witches as they return home from battle. They are initially sceptical when the witches prophecise that Macbeth will become Thane of Cawdor, before becoming King of Scotland, while Banquo’s sons will also one day be King. That is until soon after Duncan (here the Queen of Scotland) names Macbeth Thane of Cawdor. Macbeth begins to fixate on the prophecy and, encouraged by Lady Macbeth, murders Duncan in the night as she stays at their castle. When Duncan’s sons flee to England, Macbeth realises that although he is now King of Scotland, he cannot remain so while Banquo and his sons are alive. He employs men to kill Banquo, but his son Fleance escapes. Macbeth becomes tortured by Banquo’s ghost, whilst also living in fear of the witches’ second prophecy that he is only safe until Birnam Wood reaches Dunsinane. As Macbeth unravels, an uprising led by Duncan’s son is making its way through Birnam Wood…
If there is one thing the RSC’s does arguably better than the rest, it’s staging. Having a long, narrow stage surrounded by seating (almost) in a round means that any production here has a much more intimate feel, with the little separation between cast and audience heightened by the corner boardwalks allowing entrance and exit through the watching crowd. For a show like Macbeth, which requires intensity for both monologues and bigger scenes of ‘witchcraft’, this works perfectly. It physically rains on stage multiple times, providing an unsettling cold and mist which carries the supernatural atmosphere of the play. The band are also on stage for most of the show, either in the background or foreground as needed for dramatic effect. The witches are also used in incredible ways. From being ‘birthed’ through the floor of the stage to open the show, to literally flying through the air during the most horrific moments of the play, their presence is a consistent reminder to the audience that the supernatural lies at the heart of this show. The set design comes from the mind of Georgia McGuinness, and she really knows how to deliver.
The casting feels exquisite, courtesy of Anna Dawson and Simone Pereira Hind , with former Hamilton front man Reuben Joseph starring as Macbeth. He brings a vulnerability to Macbeth that lends itself well to the tortured soul he becomes as the play goes on. However, Joseph’s versatility speaks for itself during the more brutish scenes where he appears more fearsome and threatening than ever. His relationship with Lady Macbeth is harrowing, as the power dynamic continuously flips between them. Valene Kane holds her own as the disturbed Lady, and playing power hungry seems to come naturally as she has the audience on tenterhooks with her unpredictability. Anna Russell–Martin is a formidable Banquo, both in life and death, while George Anton gives a strong, yet heart-breaking portrayal of Macduff. The witches are played here by Dylan Read, Amber Sylvia Edwards and Eilidh Loan, who all pull off ethereal and terrifying in one fell swoop. One particular scene of theirs involving Lady Macduff is genuinely horrifying, and they invoke fear well. Special mention must go to Annie Grace, who provides some chilling vocals and some incredible bagpipes, and to Alison Peebles as the Porter, whose stand up section had the audience in stitches.
Overall, this is an intense and exhilarating telling of a well known tale. The staging is second to none, and creates a tense atmosphere to carry this macabre story. The cast know their parts and exactly how to play them, but also manage to keep the roles fresh from feeling tired. This version of Macbeth has all the elements needed to engage audiences of all ages, and its hard to believe that anyone does it better than the RSC itself.
At The RSC until 14 October.
