Macbeth

Thank you all for the warm welcome to yesterday’s performance of Macbeth. It was a pleasure to bring our NODA President Graham Liverton and a handful of guests from NODA East Midlands Committee for our first official visit. Although I personally have been to many productions at Tolethorpe.  A beautiful venue for our picnic set the tone for the evening’s entertainment and the excitement built as the performance announcements were made. It was lovely to meet Clive Giddings and the rest of the front of house crew who were all so welcoming.

The atmosphere was charged, the stage was set, the players ready, then the music started and we were off into the compelling dark tension of war, corruption and power play. The visually stunning set, created by director Ken Walsh looked richly stunning, with high platforms and wooden stockade, with many entrances and exits.  This was embellished with hanging camouflage netting and with the sky darkening behind, the dramatic clouds and trees enhanced the feeling of ominous potential. The set was dressed and painted by Carrie Lloyd, Jane Vallero and Ken Walsh, which was highlighted by an extraordinary lighting design. The lighting and sound throughout the whole production was gorgeous. Creating the dark atmosphere, enhancing the action and helping to depict and delineate scene changes. Lighting – Lisa Brown. Sound design, Thomas Dorman and sound operator Chris Douglas. Ken’s choices of music worked very well and enhanced every moment. I particularly enjoyed the drums which accompanied the army’s entrances and the strategic use of haze that enhanced the lighting effects. Soldiers played by Andrew Hinchcliffe and Alexander Edred, Duncan played by Sid Charlton, Thanes - Banquo by Patrick Turnham, Macolm by Troy Wilkins, Lennox by Phillip Gorman, Angus by Darran Rawnsley, and Alex Asher as Caithness, all utilised the stage area well, and moved well to emphasis their characters. They held the tension and unease well and at each entrance reacted to the turns of the story. I especially enjoyed the dying captains entrance played by Rory Gibson which emphasised the bloody nature of war.

The opening scenes left us feeling uneasy, the victims of war, as so often are, the women, searching and sifting through discarded items, left behind from a battle, we assume. Tiny shoes, shattered limbs, abandoned toys, each examined and carefully collected. Sarah Shaw, Ashley Barrett and Annie De Kremer made sad, exploring movements making grim discoveries that darkly underlined the themes at the start of the story. Until, emerging from this group, three women resolve to take revenge on those responsible and the familiar text haunts the heath. The witches or spirits, set in motion the fate of Macbeth as they invoke supernatural powers. The weird sisters played by Hannah Drury-Lewis, Christine Murrell, and Karen Newman excelled in all their scenes. Their superb use of rhythm and pace, their circular movements and costumes emphasised their ‘spells’. And their final entrance in a spooky cool light, high up on the battlements sent chills through me.

All the choreography was excellent, Lyn Walsh admirable skill utilised changes of pace and body shape to stress the feelings and thoughts behind each character, their moves, were delightful. For instance, during the scene where the spirits/witches make incantations to conjure the apparitions to show Macbeth his future, their circular moves, stirred not only the cauldron, but the atmosphere too.  The staging was very clever here, with the use of an under-stage lift, these three emerged from under the floor, supposedly from the witch’s cauldron. Ashley Barrett, Annie De Kremer, Sarah Shaw played the apparitions. Emma Oglesbee the stage manager worked her socks off for this well managed scene and through the whole production. I noted smooth swift scene transitions and well-handled stage props which included a moving dinning table which made a very smooth entrance. (Act 3 scene 4)

Phil Drury-Lewis as Macbeth, gave an exceptional performance as the tragic hero, a complex character whose strengths are ultimately twisted and consumed by ambition and guilt, leading to his downfall. Phil’s commanding presence on stage depicted a brave and capable warrior but as he grappled with Macbeth’s own morality, he demonstrated the decent into madness. His acting choices to display the ruthlessness and then the paranoia and torment were all superb. His energy and strength both splendidly demonstrated most admirably during his fight scene at the end of the play.

My favourite character is the ambitious and ruthless Lady Macbeth. This manipulative character was played by the striking Natasha Rose. As a woman of the time with no power of her own, she encourages her husband to take action to raise their status, in the most awful bloody way. Natasha’s characterisation portrayed Lady Macbeth’s strength and vulnerability, her initial ambition and later guilt, and the stark contrast between her public persona and inner turmoil so very well. A mesmerising and despairing performance during the sleepwalking scene was very moving.

Alex Fisher played Caithness, who joins Macbeths forces. His observations inform the audience of Macbeths increasingly unstable rule. Alex’s strong acting and diction were excellent throughout. The battle to rid Scotland of Macbeths influence proves his patriotism. The final act of the battle is the fight between Macduff (Mathew Robertson) and Macbeth. Macduff the Thane of Fife, a loyal and honourable character, deeply devoted to Scotland and its rightful king, Malcolm. Mathews performance after learning that Macduff’s family are murdered was masterful. He wrung our hearts as he asked again and again are they dead? Mathew played Macduff's key characteristics of patriotic, honest, family man, excellently. The final fight was exceptionally executed by both actors; the sound of ringing steel underscored the tension. (Fight Director – Sam White).

James Duggins as Ross played the messenger well, he competently presented the changes to his character, from loyal servant to rebellious adversary with great skill through the play. The character of Ross shapes the play significantly, as a royal nobleman, who’s shifting allegiances mirror the audience’s response to the actions of the power-hungry Macbeth. James managed these themes well and gave a confident strong performance throughout.

Shakespeare delighted us with many comic characters and in this play, Tony Smith plays the night porter, his drunken speech reflecting a deeper meaning hinting at the consequences of sin was a true highlight for me. Tony later played the Doctor attending Lady Macbeth, who realises he can not help her, ‘more needs she the divine than the physician’. Tony played these contrasting characters very well, giving us both truthful and motivated performances.

Other strong performances came from Sid Charlton who played King Duncan and later Seyward. His energy was captivating and overall performance caught my attention in every scene. Phillip Gorman as Lennox (the Thane who talks a lot about the weather!) and Donna Doy as the loyal servant Seyton both gave competent believable characters and responded authentically in their scenes. The loyal Angus played well by Darran Rawnsley and the sceptical Banquo played by Patrick Turnham each had good diction and utilised excellent pace and body language to demonstrate their characters feelings and situation. Troy Wilkins as Duncans eldest son Malcolm and Josh Younger as Donalbain the younger son, worked well together, demonstrating the fear and danger of their social position.

The terrible scene of the murder of Macduff’s family was very well done. The delightful domestic moment, depicted by simple basket of washing, a stool, and clothes hanger. Lady Macduff played charmingly by Zoe Stebbings and her son played by Robin Turnham, worked well together to reveal the homely moment of chatting whilst sorting and folding laundry. Until the murderers arrive to do their Lord Macbeth’s bidding. Rory Gibson, Andrew Hinchcliffe (as the murderers), intrusion onto this domestic scene is shocking and bloody. Robin later played Banquo’s son Fleance, who’s mere existence threatens Macbeths position. Robin demonstrated a skilful understanding of the emotions he was portraying.

The costumes, all made in house were stunning. Head of Wardrobe Miriam Spring Davis and Assistant Head of Wardrobe Joanne Henderson with Laura Belcher built a cohesive costume design. I noticed certain symbolic use of colour, red and gold on Macbeths costume signifying his ambition and the bejewelled aspect of Lady Macbeths outfits reflecting her desire to become royalty. The nod to modern warfare, in the camo style solders uniforms were excellent, and both the weird sisters and apparition’s costumes were crafted beautifully.  Other outfits suited the characters and enhanced the themes and character-journey’s well. The use of make-up and hair/wigs also emphasised the characters throughout. Wigs Tim Hogarth-Jones, hair and make-up Fay Wilkins.

Overall, a truly breathtaking production, where the richness of the staging, masterful direction, and superb acting were compelling and visually stunning. Yet the staging did not overwhelm the text and the story seemed fresh and as relevant in 2025 from when Shakespeare wrote it. I spoke to many audience members who stated that they really enjoyed the production which was good to hear. Macbeth is still relevant and reflects our modern world, with the exploration of ambition, paranoia and corrupting nature of power. The key highlights for me include the compelling performances by the lead actors, particularly in portraying the descent into madness, and innovative use of special effects and choreography, especially in depicting the supernatural elements. 

Now you are members of NODA, it would be lovely to enter your poster design and programme into our regional competition. Details here - https://www.noda.org.uk/programme-and-poster-competition and please ensure your productions are added to the events page on the website. Your programme is excellent, with many pictures, of your productions for 2025 season and includes information on cast, crew and company. (Photography, design and digital promotion Katie Ross, production photography Sonora Studios), brilliant.

 

Other membership benefits include our magazine ‘NODA Today’, which I would enjoy getting an article about Stamford Shakespeare Company in to.  You can also access support from the many online resources, promote your productions and your company on Facebook and show pictures on our insta page. You can access our Theatre Summer School, although the dates for next year clash with one of your productions but is an excellent opportunity to access professional tutoring on all aspects of the theatrical craft and bursaries are still available from East Midlands. https://www.noda.org.uk/events/noda-theatre-summer-school-2025/home-1727192651   You can now access all the benefits of membership such as awards, online resources, DBS Checks, insurance, our skills directory, and theatre summer school, and scripts, all the details are available on our website. If there is anything we can do to support your company and promote your productions please let me know. Email either me jules.jones@noda.org.uk or your District 5 rep Kei at kei.bailey@noda.org.uk.

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