REVIEW: The RSC's Macbeth at the Royal Shakespeare Theatre

Wils Wilsons’ most recent adaptation of Macbeth at the Royal Shakespeare Theatre was refreshing in its tradition.

Though a far cry from a pit and candles true to Shakespeare experience, compared to some of the brash attempts at refreshing the classics that the RSC and others have presented in the last few years, this production was purposeful and effective.

The scene is set with conviction as Alasdair Macrae’s brass score echoes around the auditorium and the witches (Amber Sylvia Edwards, Eilidh Loan, and Dylan Read) twist and contort their way around the stage. This was to be a sombre tragedy indeed.

Under Kai Fischer’s harsh lights Reuben Joseph as Macbeth initially faltered where others like Valene Kane as Lady Macbeth and Anna Russell-Martin as Banquo flew. His Macbeth was neither a leader nor a follower and hardly lived up to the gallant praise with which the opening scenes describe him.

King’s Lady Macbeth squeals with glee as she learns of the witches prophecy and is lead easily down her murderous path by a wanton romanticization of power. Her downfall is then all the more evocative as she truly becomes a victim of her own blind greed.

It was in these downfalls that Joseph found his stride. His portrayal of a mad king was strangely controlled yet he conveyed true insanity. The palpable fear he showed towards Banquo’s ghost only bolstered what was a brilliant display of camaraderie and betrayal between Joseph and Russell-Martin.

By the end of the show, the strong performances from the whole cast seemed to compete with each other. Each performer made a grab at their moment of raw, untamed, human emotion, be it madness, anger, or despair. Eventually these moments that attempted to push the boundaries of the stage felt more self-serving than effective story-telling. Nevertheless, they contributed to what was ultimately a down-to-earth retelling of the tragedy.

The generally strong performances were complimented by a comprehensive creative direction. However, to paraphrase Coco Chanel, before you revamp Shakespeare, look in the mirror and take one idea out. The dead birds falling from the ceiling were atmospheric, Georgia McGuinness’ anachronistic costumes were striking, and the porter scene re- imagined as a caustic stand-up set was inspired. All together though, they lost their meaning. They merely became distractions from what was a very engrossing adaptation of the tale as old as time.

With a touch more refining however, this production would have been one of the most successful, timeless rejuvenations of Macbeth that I at least have ever seen. It plays at the Royal Shakespeare Theatre in Stratford-Upon-Avon until the 14th of October.

Review by Anna Smith

Rating: ★★★★

Seat: Stalls H34 | Price of Ticket: £62