Review:  Macbeth, Shakespeare’s Globe

Macbeth is one of those Shakespeare plays that is always in the public eye in one way or another, whether being quoted or studied. In the last two years, the story of the Thane of Glamis has been on stage at the Globe, the Donmar and the Harold Pinter. This new production is a relatively safe and straightforward one, aimed at young, perhaps first time theatregoers, so taking few risks that might separate it from previous interpretations of the play.

The stage is largely bare, with ladders beside the central rear entrance that connect to the musicians’ gallery above, and with matting covering most of the stage floor. The focus is on the actors, their movements and expressions as they navigate the story. And their incredible acrobatics, of course. 

One of the characteristics that separates this production of Macbeth is the emphasis on acrobatic choreography and action sequences. While present in the battle and death scenes, the choreography stands out most when performed by the witches (Victoria Clow, Lucy Johnson and Rhiannon Skerritt) and by the ghost of Banquo (Robert Penny), all of whom make the people in the audience gasp and even shout at the utterly astonishing abilities displayed. It is an interesting and visually engaging way to separate the human and the supernatural. 

All the performances are solid, with the characters made recognisable through action, dialogue, and tone, and not in any way remarkable from how they may have been performed before. They are appealing and completely understandable (though not redeemable), which in a play filled with murder and other terrible choices is a must. The pace at which Patrick Osborne’s Macbeth falls into madness is just right and fully believable. Hanora Kamen as Lady Macbeth exudes love for her husband, making that the character’s main characteristic (a take which I personally adore). Jo Servi is hilarious as the Porter, delivering a new speech about those going to Hell and written to appeal to the teenage audience. However, Roxy Faridany playing Macduff is the standout. Firstly, the decision to cast a woman in the role is an exciting one, bringing to the ending a certain ‘Eowyn from Lord of the Rings vibe’ (she is no man, after all, as she is of no woman born). Moreover, the way Faridany approaches Macduff’s reaction at the murder of her family brings out a different kind of pain; one that feels less angry (though there is much of that later) but more anguished than I’ve seen before.  

A final unique aspect of this production is the emphasis on Macbeth’s guilt. The show opens with three teenagers being murdered by his men, and they later become the physical representation of the witches, still in the teenagers’ bloody clothes. The people who Macbeth hurts haunt him at all times. From the very beginning of the play, the theme of guilt is highlighted: an inescapable aspect for the characters and highly topical for this specific audience to study beyond the performance. 

This production of Macbeth is… well, Macbeth. It isn’t a different or wild take of the well-known tragedy. While certain choices make this production unique, they do not change the story or its tone in any way. And that is the point. This production is aimed at teenagers that are meant to learn about the play for school, so it follows a well-trodden path and adds a few flashy moments so as to never lose the audience’s attention. It is a good production of a good play, no more and no less. 

Composed by: Ben Hales and Dave Price
Design by: Natalie Pryce
Directed by: Lucy Cuthbertson
Fight Direction by: Sam Lyon-Behan
Illusion Design by: John Bulleid
Movement and Intimacy Direction by: Asha Jennings-Grant
Voice Coach: Liz Flint
Associate Director: Roberta Zuric
Casting Director: Nicholas Hockaday

Playing Shakespeare with Deutsche Bank: Macbeth  runs at Shakespeare’s Globe until Sunday 20th April.