Macbeth

Congleton Players were back on stage with their production of ‘Macbeth’, which was adapted and directed by William Vickers. The joy of performing Shakespeare is in the language and poetry that he uses in his works. It is imperative, especially in Shakespearean productions, that every single word can be heard. There were moments during this production where diction and projection suffered. There are quieter moments in the play, but the director needs to ensure that these words can be heard by the audience. The static set used looked good, with a large stained glass window dominating centrally, which would be used at the culmination of the production with Macbeth falling out of it to his death. Generally, the blocking and stage positions of the cast were strong. It was great to see a number of young people involved with this production. Costumes, under the supervision of Glynis Aldred, were a strong feature of this production. Lady Macbeth’s green dress was a delight.

Technical aspects were thought through for this production. The lighting was dark and atmospheric, which suited the production well. This did jeopardise some moments though, as some of the actors were in limited lighting meaning the audience couldn’t see facial expressions. The coloured lighting was good, and helped to invoke the emotions of the characters. Sound effects used were suitable for the production.

As well as adapting and directing, William Vickers took on the title role, stepping into it two weeks before opening night. William made Macbeth a conflicted man as he tried to navigate each situation. He brought a quietness to the role, which made the sudden fight for survival at the conclusion of the play impactful. He just needed to project more to allow the audience to hear Shakespeare’s wonderful words.

Sophie Williams played opposite William, as Lady Macbeth. Sophie was manipulative and coercive in her actions, which contrasted against the subdued Macbeth. There were moments of brilliance including the sleepwalking scene, which was powerfully performed.

Mike Clowes gave a regal performance as Duncan. Mike gave Shakespeare’s words gravitas, with great diction and articulation throughout. He commanded the stage whenever he was on it. This was a true Shakespearean performance.

Banquo was in the reliable hands of Adrian Grace. He worked well with William, especially when meeting the Witches. Adrian had a good grasp of the language, and delivered his lines well. The reveal of him as a ghost did not have the impact it should have and could have been missed by the audience.

Peter Clark gave a solid performance as Macduff. He was confident and had a good delivery of lines. There were moments where the emotion could have been pushed further, especially when finding out that his wife and daughter had been murdered. This was a good supporting performance.

Ashton Elms and Chris Brady appeared as Ross and Lennox respectively. Ashton knew what he was doing, which was great to see. He just needs to slow down his line delivery and project, as a lot of his lines were mumbled. Chris was a strong cast member. He had a great stage presence and delivered his lines very well. He was very comfortable in the role, which allowed the audience to relax and enjoy it.

Jake McCaddon and Lewis Robinson played Malcolm and Donnalbain, Duncan’s sons. They worked well together, and created a good brotherhood. Just be careful not to through your lines away.

Daniel Wood gave a good cameo as Porter. He worked hard, commanded the stage, and brought some light-heartedness to the production. It was a nice touch having Daniel greet audience at the theatre entrance in character.

The Three Witches were played by Chloe Furlong, Alice Maddocks and Angela McIntyre. All three worked well together, creating a cohesive unit. They were suitably mysterious and added to the darkness of the production.

The Three Murderers were played by Arthur Wedgbury, Taylor Dakin and Andrew Salmon. These performers were similar ages to the Witches, perhaps suggesting that the Witches had transformed into them. Again, these performers worked well together, creating a cohesive group.

There was a big ensemble who worked well together giving the scenes some life. They also played some of the minor roles, as well as servants and gentlewomen. Martin Watson was particularly strong as the Doctor, with great projection and diction.

Overall, this was a production of two halves. The staging was very good, as were a number of performances. It was great seeing young people appearing in the production, showing an interest in Shakespeare.

A big thank you to everyone at Congleton Players for their kind invite and hospitality. All the best for your next production, ‘The Good Life’, in June.

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