Macbeth by William Shakespeare
Bell Shakespeare
Clocktower, Moonee Ponds May 16 & 17, Wyndham Cultural Centre, Werribee, May 19, Karralyka Ringwood, May 2, 2007
Reviewer: Kate Herbert on May 16, 2007
John Bell’s production of Macbeth focuses on the relentless repercussions of one horribly wrong decision made by Macbeth (Sean O’Shea), a celebrated general in the wars of Scotland and a favourite of the King, Duncan (Robert Alexander).
As occurs in Ancient Greek tragedies, a fatal flaw and a poor choice lead to Macbeth’s rise and fall. Driven by pure ambition and vanity he heeds the supernatural prophecy of three witches (Linda Cropper, Michelle Doake, Leon Cain) that he will become Thane of Cawdor then King of Scotland. When he and his wife conspire to execute Duncan in their own home, they set in motion a series of bloody events and immoral actions that oppose the natural order.
The soundscape (Phillip Johnston) is ominous and the evocative design (Jacob Nash) is a series of tall panels painted with a muddy river of blood with tributaries trickling across the floor and lit with filtered beams (Matt Scott). Bell seats actors on the sides of the stage amidst a clutter of battle paraphernalia under tall spears-like poles that later double as Burnham Wood.
O’Shea plays Macbeth initially as a louche and friendly fellow who is quickly overtaken by fantasies of kingship triggered by the witches. As he rides the wave of violence and success, he becomes not only crueler but also racked with profound guilt and terror at his own actions.
O’Shea gives this Macbeth, who is now too steeped in blood to retreat, an excitable and threatening edge of mania, a lack of control over his mind and actions. Macbeth cannot live with his own treachery and breaches of duty and honour.
Cropper plays Lady Macbeth, the woman behind the powerful man, with a dark sensuality and a genuinely threatening quality. She is as dangerous to Macbeth as the witches but, like her husband, cannot abide her loss of humanity. Her decline into sleepwalking delirium and her subsequent suicide become credible.
The supporting cast are accomplished. David Whitney is commanding as Macduff and his grief at the murder of his family is palpable. Alexander has dignity as Duncan and Richard Sydenham’s Banquo is imposing.
Bell directs the play with a taut hand and brings the violence to the stage in the stylised battle scenes (Felicity Steel) in an age when CGI usually does all the work for an audience.
By Kate Herbert
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