Macbeth

The director Janette White, pointed out in her programme notes several parallels between the themes tackled by Macbeth and those still relevant today:  "Greed, ambition, betrayal and political manipulation remain widespread ...... ".   They certainly (and unfortunately) do remain. It could be argued that nothing ever fundamentally changes within human nature, which may be regarded as fortunate for tragedy writers.

Three suitably hag-like Witches Jane Kortlandt (First), Sophie MacTavish (Second) and Charlotte Morris (Third), together with twelve year old Elena Vinall (representing the Witches' Familiar), provided a shivery, eerie  and most suitable opening. All were highly convincing, as was the most realistic looking cauldron.  

Atmospherically entering from both sides of the auditorium all hailing "Macbeth the Hero", the company bestrode the stage to good effect aided by splendid battle sounds and appropriate lighting - the backcloth becoming a foggy moor.  

Alan Webber as King Duncan took his ornately carved wooden and rather magnificent throne. I found his opening lines rather hurried and not easy to pick up, though he slowed his delivery up and overall he did well in the part.

Clive MacTavish really commanded the stage as Macbeth, bringing great angst to his breakdown and descent into madness. One really felt his guilt and vulnerability. His was a particularly effective performance throughout.

Gareth Crossman and young Teddy Stevenson both convinced as two noblemen Ross and Angus, respectively.  

Both King Duncan's sons, Phil Clarke as Malcolm and George Gills as Donalbain gave sterling performances with distinct presence.

Another sterling performance was given by the unfortunate Banquo - Sean Eldridge who played him is clearly talented, as I have certainly noticed in previous productions. Joel Wall as his son Fleance, escaped to live another day, thankfully for local theatre as he is a young and fast burgeoning talent!

David Morgan gave a comedically peerless performance as the Porter. The word charisma was surely invented for David, though he generously gives a portion of this great gift to some of his fellow players for their use as was most evident in this production.

Laura Brand brought a captivating, even magnetic lustre, wrapped up in her deadly and troubled agony as Lady Macbeth. Hers was one of the stand-out performances I have seen in amateur theatre and she was quite magnificent!! Do play the role again soon, Laura!

Peter Calver, a very late stand-in, played MacDuff, slayer of Macbeth. He held aloft a rather too small and much bloodied bag containing Macbeth's head. Peter is another gifted actor and is also the Society's Chairman. His programme notes set the scene very well for what was to follow.

Carol Moss did well as his decent wife, Lady Macduff, and twelve year olds Evan Moynihan and Elena Vinall gave touching performances as their children. Their brutal slayers were played by Alex Campbell (also the Sergeant) and Guy Hudson as first and second Murderers respectively. Both of them made splendid use of these small, but vitally important roles.

The more minor roles were all played well with the strong nucleus of young performers all doing justice to this legendary work. Oxted Players clearly attract great depth of talent across all ages.

Costumes and wardrobe were by the marvellous Elizabeth Callow, ably assisted by Sally Dallosso and both ladies attention to detail was, for the umpteenth time,  beautifully displayed and highly impressive.

Oxted Players can also call upon the expert services of Stephanie Hornett Johnson for hair and wigs, which were completely accurate for the period.

John Chinnock provided marvellous sound effects and Phil McKerracher, assisted by Martin Lloyd, excelled in the lighting box.    In this play, more than most, these highly atmospheric Lighting and Sound Effects played a key part in this successful production.

Director Janette White's programme notes reminded (or informed those new to Shakespeare) of the "curse" of  Macbeth which we must call "The Scottish Play" - unless one is writing the review! Janette has apparently long held the ambition to direct "The Scottish Play" and it was abundantly clear how very much thought, preparation and inspiration she had brought to this spine tingling production. She very sensibly opted for minimal set, using the costumes, lighting / sound effects and the interaction of the cast to provide the chilling atmosphere so vital to this so human of all our genius Bard's great works. Four hundred years after Shakespeare's earthly body died, his legacy to mankind, as clearly evidenced tonight, remains immortal.

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