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Show: Macbeth
Society: Watermill Theatre, The
Venue: The Watermill Theatre, Bagnor, Newbury RG20 8AE
Credits: William Shakespeare. Performed by The Watermill Ensemble
Type: Sardines
Author: Meri Mackney
Performance Date: 04/03/2019
Macbeth
Meri Mackney | 06 Mar 2019 11:13am
Macbeth at The Watermill Theatre. Emma McDonald, Billy Postlethwaite and members of the Ensemble. Photo: Pamela Raith
I always look forward to the transformation of the Watermill for every play and the set for Macbeth does not disappoint. It is all rugged walls and possible war damage, setting us up neatly for the opening battle scene. At relevant points during the show, it drips blood or grows tree trunks, gaping holes become solid doors, a disguised screen allows projection of characters to allow another level or apparitions to appear. This is a clever synthesis by Designer (Katie Lias) Lighting Designer (Tom White) and Video Projection Designer (Louise Rhoades-Brown) and demonstrates the collaborative nature of this entire production envisioned by Director, Paul Hart.
This is a vibrant and dynamic production with a cast who move seamlessly from principal part to chorus to musician. The musicianship is excellent, providing a throbbing urgency which underscores the text. Using an interesting mix of songs and styles, Macbeth is brought up to date or rather shown as the timeless play it is. This could be any civil war in any country where the thirst for power loses all humanity. The action is movement-driven, and the sound and movement fill the space and fire the audience response. Effective control of the sound balance ensures that the music creates drive and atmosphere without detracting from the clarity of the speech – congratulations to sound operator, Aeron H Donnelly Jackson.
The cast is universally strong. Macbeth is a long and demanding play (despite a lot of cutting) and the cast are only ever offstage for hurried costume changes as they morph through their roles. The energy levels are impressive, particularly in the first half. Only Billy Postlethwaite as Macbeth stays with a single character throughout, although, of course, Macbeth himself changes constantly. He gives a towering performance, which could easily have been allowed to dominate the piece but each member of the cast holds their own. In this profusion of powerful performances, Banquo (Lillie Flynn) and Malcolm (Victoria Blunt) stood out – Flynn being particularly impressive as she demonstrated her musical as well as her acting prowess. The Watermill Ensemble’s 50:50 gender split encourages this lifting of Shakespeare from male-domination and allows the women some meatier roles. The names were kept but the pronouns changed to give us hard-fighting women, of equal dominance in this world. Max Runham, too young for his role as Duncan but owning it, also impressed with his musical versatility. Mike Slader (Macduff) provided, for me, the one moment when I felt truly moved as he received the news of his family’s slaughter (mercifully done offstage).
The concept of the Macbeth’s running a hotel didn’t really work for me, although it did allow some visual gags, which I won’t spoil by revealing here. Eva Feiler’s Bellhop Porter’s costume looked increasingly out of place as Macbeth’s world crumbled around him and she morphed into Seyton. A change to military garb might have been better, although I imagine this was avoided to prevent confusion with her camouflage-clad role as Fleance. Her performance, however, ranged seamlessly through comic, engaging, concerned and fearful.
The treatment of the witches is inspired as they become the dead bodies from the battlefield, party girls from the celebrations and show Macbeth to be surrounded by evil urging him to his doom. My nit-picky brain did become distracted by the blades of the daggers being offered to Macbeth rather than the handles, but I doubt this would have been noticed by most of the audience not quite so over-familiar with the text. The women’s sexy dresses relieve the general grey but only Lady Macbeth (Emma McDonald) stands out as a splash of brilliant red. She is strong and impressive in the early scenes as she reveals herself all too ready to commit murder by proxy and to twist Macbeth to immediate action. Maybe due to cutting, however, I was less conscious of the growing separation between the Macbeths, which robbed the sleepwalking scene of some of its poignancy.
Overall, this is a powerful, energetic, stimulating and fiery production and I was quite envious of the school party in the theatre, thinking what a brilliant possible introduction to Shakespeare in performance this was. A great night.
Macbeth at The Watermill Theatre. Members of the Ensemble. Photo: Pamela Raith
- : admin
- : 04/03/2019