Review: MACBETH, Shakespeare North Playhouse

Macbeth has been brought to the stage once more in a phenomenal production of the drama at the Shakespeare North Playhouse.

Co-produced by English Touring Theatre, Northern Stage, Theatres de la ville de Luxembourg and Shakespeare North Playhouse, the drama is moved to a contemporary setting which instead sees the first few scenes of the play take place in the home of the Macbeths.

In the programme, English Touring Theatre Artistic Director Richard Twyman says that the production’s restructure of the first few scenes contextualises the actions of the characters, while “leaning into the domestic and psychological landscape that the characters inhabit.”

Twyman’s artistic vision for the opening of the play is effectively realised by Will Duke’s excellent projection design. Duke’s design moves the story seamlessly from a feast at the Macbeth’s home, to conversations between the couple in another room, which is captured by CCTV footage and projected onto two large screens. The use of video projection not only moves the story along at a quick pace that keeps the audience engaged, but allows us to learn more about the characters of Macbeth and Lady Macbeth as they plot to kill King Duncan in their own home. The video projection is used well throughout the entire production and is an innovative addition to the play.

Both Mike Noble as Macbeth and Laura Elsworthy as Lady Macbeth also deliver stand-out performances throughout. Their loving glances towards one another and romantic slow dances in act one are soon replaced by physical distance between the couple in act two, showing changes in their relationship towards one another and to themselves, as they both become haunted by the crimes they have carried out. 

Meanwhile, Noble’s vocal delivery was incredible, particularly when Macbeth saw the ghost of best friend Banquo (whose murder he had ordered to be carried out). His change from softly spoken vocal tones to sudden chilling screams captured the fear that Macbeth felt when seeing Banquo’s ghost, before speaking in whispers to capture the thoughts and feelings of guilt in Macbeth’s mind.

Other notable performances came from Leo Wan, whose witty monologue and interaction with the audience as Ross in act one captured your attention from start to finish.

Meanwhile, Jasmine Elcock’s theatre debut as Malcolm deserved a standing ovation of its own, particularly when she delivered a stunning karaoke rendition of a 70s pop classic in act two - which again set the production in a contemporary setting - but also juxtaposed the seriousness of the following scenes when Malcolm intends to overthrow Macbeth. Elcock is a performer to watch and one that I hope to see in more theatre shows in the future.

With excellently choreographed fight scenes by Movement Director Elinor Randle, particularly between Noble’s Macbeth and Guy Rhys’ Macduff in the final scenes, along with Tingying Dong’s sound design that created moments of tension and suspense, every element of the production combined to create one of the most unique and innovative productions of Macbeth I have seen.

Photo Credit: Shakespeare North Playhouse

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