Review: MACBETH, Shakespeare's Globe

“In thunder, lighting or in rain” rarely may have been a more appropriate Shakespearean line for the UK’s current weather. Yet after a stormy day, the skies cleared for opening night of the Globe’s latest production of Macbeth.

The Weird Sisters are now men and Duncan is now a Queen, all set in a non-specific time frame, which allows the audience more time to relish the inherent supernatural elements, human fallibility and the power of ambition.

Max Bennett and Matti Houghton star as the murderous couple. They lack a little in a convincingly twisted chemistry. Bennett takes a little while to warm up, but is more focused in the second half as he becomes increasingly wide-eyed and manic. Houghton is a suitably ruthless and manipulative Lady Macbeth, effectively showing how her paranoia grows as their world implodes.

With its reputation for genderblind casting, it does seem odd to give female roles to men. However, the witches, played by Ben Caplan (coldly quiet), Calum Callaghan (unhinged) and Ferdy Roberts (darkly sinister) are a creepy trio. Callaghan also handles the tricky Porter scene well, with just enough nudge-nudge jocularity to bring lightness without feeling like too much of a disconnection from the darkness of the story.

Aaron Anthony shows real grief at the murder of his family, more credible as his pregnant wife and Spider-man outfit-clad son are more visible than usual. Fode Simbo also makes a noble Banquo. The child actors are generally given more stage time and are universally excellent.

After directing The Merchant of Venice in the Sam Wanamaker Playhouse last year, Abigail Graham has returned to make her directorial debut in The Globe Theatre. Graham keeps the props to a minimum, with three stainless steel medical trollies being the main parts of the set. This is a production that relies on few gimmicks, although the witches dismembering a body and using a blender as their cauldron is a nicely sinister touch. However, the challenges of this larger and more open space can be seen in the static nature of some of the busier scenes and more energy in the violence would also be welcome.

Ti Green’s design removes any distraction from the painted wood of the stage by covering it with a grey fabric that looks like cracking concrete, with a shimmering silver tree hanging upside down from the ceiling. The three tree stumps that sit among the groundlings are effective when used as platforms for characters, but are underused.

The music is a highlight. Osnat Schmool’s beautiful composition uses stripped back percussion and wordless acapella voices to create an ethereal and often uneasy atmosphere.

After accusations of ‘wokery’, particularly with suicide helplines flashing up on screens in last years’ Romeo & Juliet, this version of The Scottish Play does not shy away from the intrinsic gore of the play. Michelle Terry has gone for some of the big-hitters this season and this Macbeth will prove popular, even if the energy is muted.

Macbeth is at Shakespeare's Globe until 28 October

Photo Credit: Johan Persson