Macbeth

Shakespeare’s tragic tale of foul bloody murder, betrayal, and predestined fate has been brought to harrowing life by the players of Sleaford Little Theatre.  Our story begins on the blasted heath; a simple stage bathed in eerie green light and billowing mists, where two weird sisters and one brother are preparing to meet the ill-fated Macbeth.  But here we have a new twist to the traditional story.  Director Maria Bates has explored the concept that Lady Macbeth has previously had a child: ‘I have given suck and know how tender ‘tis to love the babe that milks me’ and shows in graphic detail what happens to the unfortunate babe at the hands of these evil harridans.  So, from the very beginning we see the malign influence the witches have had on the lives of the Macbeths.  Unwitting victims or hapless pawns in an evil game of fate?

Next, we meet King Duncan (Rob Norris) who is told by a badly injured sergeant of Macbeth’s bravery and the grisly fate of the treasonous Macdonwald, Thane of Cawdor, a chilling portent, and a hint to Macbeth’s own destiny.   Macbeth is a valiant solider who has proved his worth on the battlefield and is awarded in his absence with the title of Thane of Cawdor in recognition of his valour and loyalty.

Back to the blasted heath to meet the three witches (played with gleeful delight by Linda Mallett, Laura Davies and Tony Gordon) who are preparing a charm.  They greet Macbeth (Andy Canadine) and Banquo (Caroline Johnson) fervently with some prophetic news; they already know that he has been appointed Thane of Cawdor and hint at him being King ‘thereafter’.  For the bemused Banquo they have more news, his children are destined to be future kings of Scotland.  Macbeth and Banquo scoff at this ridiculous news but then Lennox (Russell Hopkin in his debut role with the society) brings confirmation that the witches’ observations were accurate, and their prediction had come true.  Despite the jovial atmosphere between the friends something dark has stirred in Macbeth.

Duncan and his daughter Malca (Joanne Moules) are still praising Banquo and Macbeth and share their disappointment at the betrayal of the former Thane of Cawdor, whom Duncan trusted, while blissfully unaware of the ‘black and deep desires’ that continue to swirl within Macbeth as he formulates his own plot to commit regicide.

At Macbeth’s castle, we meet Lady Macbeth (played with a chilling detachment by Helen Pack) who has received a letter from her husband detailing the mysterious meeting with the witches and informing her that King Duncan will be staying overnight.  She then muses on her husband who, despite being a soldier and not unused to slaughter on the battlefield, is ultimately too kind-hearted to murder and betray the noble Duncan.   She scorns her husband for his lack of ambition and states that once he returns home, she will be the master manipulator and persuade him to carry out the deadly deed so he can gain the crown she covets.   She then mocks her own motherhood pleading for demonic assistance to achieve her goals.  Throughout the stage is bathed in red light casting a blood like pall to her spell like chant.   

While smiling outwardly to the oblivious Duncan and Banquo ‘false face must hide what the false heart doth know’, the Macbeths’ plot Duncan’s massacre and the stage is set for the gruesome murder and the turning wheel of fate is set in motion.  

Macbeth has a pang of conscience grappling with the enormity of the task, for to kill a guest and an innocent man he respects, is truly horrific.  Andy Canandine handles this soliloquy very well - torn and tormented with his desire for the crown as he hovers at Duncan’s bed chamber trying to pluck up the courage to carry out the assassination knowing that the witches have made this a self-fulfilling prophecy he must ultimately perform.

 Once the deed has been done and the hapless servants have been framed for murder, Lady Macbeth coats their swords with blood and in the process covers her own hands in Duncan’s blood. 

Then, we have some light relief from the inebriated Porter (who is in fact one of the witches keeping tabs on the Macbeths.)  This device is also used for Lady Macbeth’s gentlewoman and the doctor (Hecate played by Caroline Johnson), so the witches are present throughout smugly watching as events unfold.

Macduff (Briony Sparrow) in a dual role also playing his doomed wife Lady Macduff, arrives at the castle to discover that Duncan has been brutally murdered. While Lady Macbeth feigns shock and faints, Macbeth murders the groomsmen to ensure that they cannot bear witness to the truth. 

Filled with jealousy, Macbeth orders the murder of Banquo and his son Fleance, so that the part of the prophecy about Fleance becoming king in the future cannot occur.  Banquo is killed but Fleance (Eliza Hughes) flees showing that the prophecy cannot be altered.  At the banquet, Macbeth, who has been informed of Banquo’s murder, descends into paranoia seeing Banquo’s gory accusatory ghost sitting in his seat. Macbeth berates the guests for playing a trick on him.  Then, much to the bemusement and horror of Lady Macbeth and the guests, he proceeds to rant and rave at this invisible spectre.  

Macbeth returns to consult with the witches who tell him, through a series of visions, that he cannot be destroyed by any man of woman born.  In his arrogance, he continues the path of destruction not realising that the witches have been playing him all along.  In his arrogance and belief that he is indestructible and needs to eliminate any threat to his rule, Macbeth orders the murder of Lady Macduff and her children (Ruby Hughes and Eliza Hughes) thereby unwittingly creating a bitter enemy bent on revenge who will ultimately become Macbeth’s downfall.

Lady Macbeth goes silently mad with a beautifully enacted sleepwalking scene where she reenacts the events of Duncan’s murder.  Helen Pack was chilling in this role; barefoot, white nightgown billowing scrubbing her hands for imaginary blood that only she could see and smell.

So now the once noble and well-respected Macbeth has become a bloody tyrant and still convinced of the witches’ assurances that he has a charmed life, he arrogantly meets Macduff for the fulfilment of the prophecy.  Macduff mockingly taunts Macbeth with the news that he was born by caesarean section and Macbeth crumbles at his feet, plagued with the visions of his victims and now completely broken, he yields to his fate as Macduff applies the killing blow and ends the reign of terror.  Macduff then prises the crown from Macbeth’s hands and presents it to Malca announcing that she is Queen of Scotland and a worthy successor to her father.  

We are then given another twist to the traditional tale as Banquo’s son Fleance goes to the witches for supernatural support and we are shown that he will be manipulated by them just like Macbeth as another pawn of fate.

I was also impressed with Andy Canadine who played Macbeth as a loyal soldier to the crown and good friend to Banquo, who initially was cynical of the witches’ predictions but then became totally under their malign influence.  His relationship with his wife showed how easily he could be influenced to perform the darkest deeds suggesting that these ideas of ambition were already lurking within him and the violence within his character.  His descent into madness, as he sowed the seeds of his own destruction grappling with his conscience and carrying out increasing acts of depravity was often quite painful to watch.  A classic example of power corrupting and the psychological effects of murder.  Andy certainly demonstrated the roller coaster emotions required for this complex dynamic character while managing to keep some sympathy for his fate as a victim of his own ambition.

Another standout performance from Caroline Johnson as Banquo, the mirror opposite of Macbeth, as he is noble and honest balancing Macbeth’s greed and suspicious nature. I loved her fatherly relationship with her son Fleance and her silent ghost filled with betrayal and simmering rage, maintaining her steely accusing stare boring into Macbeth.

Special mention to Briony Sparrow for her powerful performance of Macduff.  You could really feel her despair at the news of the slaughter of his family.   Also, Joanne Moules as Malca who brought passion and dignity to the part of the bereaved daughter accused of her father’s murder who returns to right every wrong.

Costumes were in keeping with the theme of the play and I particularly liked the Macbeth’s costumes matching black and red. The props were excellent I especially enjoyed the gruesome contents of the witches’ cauldron as the dropped in their gory ingredients also the use of blood knives (always a sign of a good night’s gory entertainment!) provided by Tina Hodgson and Sally Hughes with the dubious title of blood mistress! 

The set was simple but used effectively with a raised balcony and staircase ensuring that all the characters could be seen and a large medieval styled double door leading to the murder room.  Lighting was used most effectively with follow spots for highlighting characters.  Sound and special effects were good with music used appropriately throughout although some special effects drowned out the dialogue of the some of the younger actors.

It was nice to see the different generations on stage with experienced actors working alongside and sharing their expertise with the younger cast members.

It was also lovely to meet Maria before the show and hear her ideas and obvious pride in her cast and Amanda during the interval.  I was also thrilled to be invited backstage to see behind the scenes and meet some of the players and view the props and set.

Well done to Maria Bates and Amanda Grant for bringing a new twist on an old classic through exploration and interpretation of the text and bringing their vision to gruesome life  creating a bloody but hugely enjoyable evening's entertainment.

© NODA CIO.  All rights reserved 

 

 

 

 

 

© NODA CIO. All rights reserved.