Review: Macbeth, Wilton’s Music Hall

Robert Shaw Cameron’s production of the Scottish Play at Wilton’s Music Hall is intelligent, modern, and remarkably frightening. Timeless and ever-relevant, Scotland-based Macbeth follows an overly ambitious couple in an attempt to ascend the ranks of nobility. It’s bloody, it’s mad, and when executed correctly, unnerving. I am a firm believer that any Macbeth is only as good as his Lady. Safe to say, The Duke’s Theatre Company nails it. Marilyn Nnadebe’s Lady Macbeth is exciting, zealous, and guttural, so much so that she manages to stand out amongst an already remarkable cast. I must also mention Alasdair James McLaughlin as Macduff, who leans into the grief of his character so well.

It’s always interesting to consider how the age of the actor playing Macbeth impacts the depiction of the character himself. In this, the titular role is played by Finnbar Hayman, who is somewhat reminiscent of a Jack Lowden-type in his hungry performance as the Thane of Cawdor. He is rightfully pitiful at times against Nnadebe’s strength.

Modern performances of Shakespeare’s work can often feel tired, relying on the same plain military costuming. Yet set and costume designer Jessica Curtis’ care for her craft is evident in this production. At times, characters resemble Oasis circa 1990s, with soldiers swallowed in windbreakers and Lady Macbeth donning an oversized puffer in the style of a cloak — a completely enthralling choice.

It’s possible to downplay the witches in Macbeth productions, with some choosing to include and dress them almost as an afterthought. This certainly was not the case here: truly some of my favourite costuming I have ever seen in a play, with the audience never seeing the witches’ faces given they’re shrouded in black robes and with coverings made from red material reminiscent of innards. Their movement, collectively and independently, is phenomenal, with one scene resulting in all the witches piled atop one another and undulating like a beating heart. They slip down into the stage and appear from shadowed corners, concealed by waves of red-lit smoke.

The set design is equally stunning, and intelligently multipurpose; poles acting as trees, which are then turned into swords, then forming the spikes of the unlucky crown of Scotland. The clever way in which the dagger is physically presented multiple times to Macbeth during his famous soliloquy is also a wonderful touch.

Surprisingly, there is a degree of audience participation which I found to be a lovely reprieve from the otherwise heavy content of the play. The Porter picks on audience members like a pantomime jester, which earned a round of genuine laughter.

Let’s face it — Macbeth delivers one of the greatest plot loopholes there is, and I’m always excited to see how a production depicts that realisation. Hayman doesn’t offer a Macbeth you particularly sympathise with but does allow himself to drift appropriately close in the scene where the tyrant king is confronted by Macduff.

This is a truly wonderful and surprising depiction of the Scottish Play.

Produced br: Bobby Delaney and Laura Matthews for The Duke’s Theatre Company
Directed by: Robert Shaw Cameron
Set & Costume Design by: Jessica Curtis
Composer & Sound Design by: Rob Millett

Macbeth plays at Wilton’s Music Hall until Friday 1 August and touring throughout the UK until Tuesday 30 September.