One of the many challenges of staging Shakespeare’s Macbeth - or, as I like it call it, The King, The Thane, His Wife, and the Witches – is deciding in which historical period to set the action. Written in the early 1600s it is based on events which supposedly happened five centuries earlier. In recent years we have seen many approaches: steam punk, mid 20th century Fascist dictatorship, and – in Bell Shakespeare’s most recent go at it – 1930s séance.
In directing this fine production for the Genesian Theatre Company, director John Grinston has gone for ‘classical’: tunics with metallic trim, high boots, leather gauntlets, and witches in swirling capes. It conjurs up thoughts of mid twentieth century stagings by English repertory companies, and perhaps how the Elizabethans imagined royalty were dressed some considerable time earlier. (It’s always worth remembering that Shakespeare’s actors worn contemporary clothes, with the occasional historical augmentation). Costumes – designed by Susan Carveth and co-ordinated by Gregory George – are uniformly clear and effective in conveying character and status.
The set is simple: a backdrop showing a foreboding sky, which is beautifully illuminated by lighting and sound designer Cian Byrne; nine ‘drama boxes’ on which actors can sit awaiting their entrance, or, if you prefer, characters are observing the action (although heads are often bowed; a small platform of steps, used occasionally but with considerable impact; and two trios of upright wooden beams, hinting at both a castle’s grandness and the ominous threat of Birnam Wood. It’s an excellent use of the Genesians’ new venue’s small stage.
Once the decision has been made as to where to set the play, the biggest challenge facing a director is casting. Here, once again, John Grinston, and his Assistant Director Peter Gizariotis, have excelled. Jack Taylor is a terrific Macbeth, carefully charting the journey from curious innocent to crazed despot. Similarly, Dimitri Armates skilfully transitions from loyal friend to creepy apparition as Banquo. Veteran performers David Stewart-Hunter and John Benjamin bring considerable gravitas to their roles, although some deviation in characterization or costuming may have avoided any confusion when the latter played both the two doctors from warring sides. Kendall Drury’s Macduff, Callum Wilson’s Lennox, and Jono Lukins’ Ross are all appropriately commanding and determined. Arnold Walsh’s Malcolm is youthful and spritely; and a little ‘corpsing’ after a fumbled sound cue on Opening Night delighted the sympathetic audience. Jasna Mars, Poppy Cozens, and Julia Burns brought terrific physicality and great commitment to their work as the three ‘wyrd sisters’. Micah Doughty’s sprited Porter thoroughly engaged the audience, with whom he cheekily interacted. In fact, the whole ensemble was terrific.
That said, special praise must go to Yvette Gillies who plays Lady Macbeth. Sometimes portrayed somewhat one-dimensionally, this was a Mrs Mac whose emotional depth was matched by an electrifying stage presence and great technical skills. Ms Gillies employment of her natural Scottish accent brought considerable authenticity to her performance, rather than throwing focus onto the accents of her fellow performers, which range from local to traditional British ‘Received Pronunciation’. It was a very memorable Genesians’ debut, and I’m sure I’m not alone in hoping that it will be the first of many performances by this talented actress with the company.
Equally impressive is the wonderful work done by Blake Wells, the production’s Fight Choreographer. The intensity of the play’s final sword battles is a central reason why it has been called cursed, as over the years many exhausted actors have been injured during them. Here they are genuinely thrilling but also so skilfully staged that an audience isn’t concerned for the performers’ safety. As the season progresses, I have no doubt that the actors involved will gain further confidence while performing them, and these spectacular sword fights will gain even more authenticity.
Playing Shakespeare today demands what the great director John Barton called ‘balancing the two traditions’: that is, being able to serve the Bard’s extraordinary use of language while also embracing the importance of bringing an undeniable ‘truth’ to a characterization. This is something which this ensemble excels at. Both verse and prose are delivered with both beauty and honesty: an achievement often lacking in local professional productions of Shakespeare’s texts.
John Grinston cleverly also brings the same mix of the traditional and the modern to his imaginative staging choices. He employs some ‘old school’ staging configurations, such as actors standing in lines or semi-circle, and travelling to downstage centre for big speeches, including, but not limited to, the soliloquies in which the audience are directly addressed. However, he also employs some very modern staging techniques. For example, while the first appearance of the witches is preceded by silence, and the only soundtrack noises for most of the show are traditional fanfares, the second witches’ scene is heralded with a most surprising and non-Elizabethan music choice. Building on this idea further, Mr Ginston has added an epilogue to the play, one which is reminiscent of the ending of Roman Polanski’s 1971 film version. I won’t spoil the surprise but suffice to say that it captures the sentiment of a terrific musical collaboration by Dame Shirley Bassey and The Propellerheads while using a much more moody melody.
All in all, this Macbeth is another triumph for the Genesian Theatre Company, now in its eighty first year, and for John Grinston, who has recently emerged as a terrific unofficial Resident Director for the company. I recommend it without hesitation, whether you are new to seeing Shakespeare performed, or have been doing so for a lifetime.
Photography courtesy of Anthony Burns, Homepix Photography P/L.
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