MACBETH

It has long been the fashion to take a Shakespeare text and play with it, play with the play for whatever reason a director might choose. It could be to re-set it in time or place, to explore sub plots, tangle with characters, reverse outcomes, mess with genders, something Will did himself of course, or even just to shock. It sometimes works, of course it does, but sometimes the pure heart of the work is left at the door and for no good reason or outcome.

Hannah Barrie

Out Of Chaos, working with ATG’s excellent educational wing have taken Macbeth and with real dexterity produced a slightly condensed and minimalistic version that delivers on every level. Two actors take on all of the roles, it could be confusing but it isn’t and very soon your eyes and ears become attuned to the conceit. Much of this is of course down to the fine playing of Hannah Barrie and Paul Mahony who interact with skill, not only with each other but with themselves when in certain scenes they have to deliver several roles. But also with the audience, who at times, when the house lights rise, are called upon to play a variety of roles. This lends a much needed air of comedy and lightness to the whole, a device that captures the attention of an audience mainly made up teenage school kids.

Paul Mahony

Director Mike Tweddle gets this so right, the story is told with such clarity that the younger members of the audience are rapt, apart from a little popcorn rustling this is a fidget free space. And it should also be mentioned that even when adopting regional accents it is done with a light touch and clear diction.

Visually an empty stage is beautifully transformed by Ashley Bale’s brilliant lighting, one minute a castle, the next a forest, and Matt Eaton’s music and soundscape adds much to the whole, often there but never intrusive. The combination of all these elements is expertly delivered by a well drilled technical team who make what may seem minimal but is clearly far more complex work seamlessly.

Some years ago I travelled to The Barbican in London to see a production of the Scottish play. It was impenetrably diabolical, tricksy nonsense, nonsensically delivered with unintelligible accents and rapid fire speeches that post show stiff drinks were required. I swore at that point that I never wanted to see the play ever again. I’m so glad that I relented last year and saw this for the first time and liked it enough to return and see it for a second time, to be equally impressed. How I wish that in my teenage years I had seen Shakespeare done so well.

Andrew Kay

Theatre Royal Brighton

23 January

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