PERFORMANCE REVIEW: Macbeth

Macbeth – The Madness Season
Riverside Studios

It would be interesting to work out how many times “Is this a dagger I see before me?” is uttered in a single year. With Shakespeare, and in particular ‘the Scottish play’, proving as popular with everyone from Sam Mendes to the local village players, how is one to go about making theirs stand out from an ever-growing crowd? Down at the Riverside Studios, Neil Sheppeck’s Love & Madness hint at one way to do the Bard differently.

From the moment you step foot into Studio 3, which has been transformed into 1960s East End pub for the evening’s performance, you know things are not what they seem. Firstly, there are a number of chairs on the small stage that are occupied by both cast and audience members. Secondly, the bar of the auditorium is actually on stage meaning you have to cross performance area if you want to get a drink before the play begins. This pretty much sums up Love & Madness’ work with classic texts such as Macbeth - trying to break down the divide between the 17th century text and the audience of today. Here Macbeth, Duncan and Macduff become Kray-era London gangsters fighting for the rule of their manor.

Its an interesting concept and, as seen from the final showdown between Macbeth and his caesarean-born nemesis, with the latter ultimately avenging the death of his wife and children with a crowbar, it makes the brutality of the action very real and contemporary. However, you end up wishing Sheppeck would push the idea further, being ruthless with the text and creating a stronger sense that this is a set of bloodthirsty, power-craving cockneys rather than a group of Scottish noblemen. The aforementioned violence of the production’s conclusion leaves you wishing the rest of the play was more like this.

While some cast members struggled with Shakespeare’s text, in particular Jack Bence and Brendan Wyer as Malcolm and Ross respectively, others excel in making it sound like everyday talk. Will Beer’s Macbeth is superb as he travels from grateful goon to psychotic guv’nor all with glimmers of Alfie (in the Michael Caine days before Jude Law messed it up) and Danny Dyer. Jody Watson makes Lady Macbeth not so much isolated ice queen, but rather over-aspiring nosy neighbour and slots her into the chosen period with absolute perfection. The decision to give Lady Macduff – Lucia McAnespie – the porter’s scenes is meanwhile utterly inspired, performed with the comic timing of a pro.

While it’s far from a perfect production, it’s both enjoyable and exciting and a perfect way to start off the group’s first residency season. It will whet your appetite and leave you wanting more. Lead on Macduff.

Harley Barker

Macbeth runs in rep until 26th July