Theatre / Reviews
Review: Macbeth, Tobacco Factory Theatres – ‘Shakespeare’s text sings in a production underscored by two huge performances’
Why, in an age when theatre – particularly of the ad hoc and fringe variety – is more than proving itself against the streaming channels, and young theatremakers are producing work steeped in the confusion, anger and turmoil of ‘the now’, are we still turning out for Old Bill Shakespeare?
It was a question that crossed my mind as I watched the Tobacco Factory Theatre fill to capacity for the latest incarnation of Macbeth, brought to life by the TFT’s artistic director Heidi Vaughan. No doubt, the KS4 factor is at work (evidenced by the number of young people who sit through it in various stages of excitement/boredom) and for an older generation, there is perhaps a lingering, prescriptive feeling that ‘this is good for you’, much in the way that cod liver oil performs the same function.
Of course, the definitive answer lies in the universality of Shakespeare’s themes, and in The Scottish Play there is no end of dreaming, scheming, murderous desire, delusions of grandeur and faith in off-the-wall prophesising. Sound familiar?
The ensemble in Macbeth
Indeed it does, and in a week when the controversy around The-Andrew-Formerly-Known-As-Prince reached something of a zenith with his arrest, the royal habit of backstabbing anyone preventing you from getting what you want is just one of the ideas that connects ancient and modern audiences.
This production offers very little in the way of distraction from those themes. A minimal set, plus dour outdoorsy clothing (culottes, vests, neckerchiefs and tartan all playing strongly in the manner of a Big Country tribute act) swivel the attention to the text itself.
Stu McLoughlin as Macbeth
And rightly so, because the descent into murder and madness doesn’t come from a single act, but a series of enabling events and compliant co-stars who (hello, America) allow the egomaniac-in-chief to become unhinged and out of control.
Stu McLoughlin shines as the grasping Macbeth. His is a physically big, bold ‘out-there’ presence honed by his years touring with Living Spit, the two-man comedy theatre troupe he co-founded with the late lamented Howard Coggins.
Patrycja Kujawska as Lady Macbeth
His performance contrasts beautifully with that of Patrycja Kujawska as Lady Macbeth, her cool blonde crop and understated black clothing underscoring a performance of icy, ruthless ambition intensified by her native Polish accent. Her manic scream at the end of the famous ‘Out, out damned spot’ sleepwalking scene is enough to keep my spine shivering for a week.
Thankfully, the appearance of the witches isn’t a cue for warty, prosthetic notices and cauldrons full of black cats and cackles. Instead, the cast don ribbon-festooned, English folk-horror style cloaks and let an eerily whispering soundtrack do the whole ‘Double, double toil and trouble’ bit instead. This stillness contrasts with the flashes of physicality and dance expressed elsewhere – an aspect of the production that is particularly effective and could’ve been employed more regularly.
The ensemble
While the text sings, it is also dense and, at points, whips past so quickly that there is a tendency for meaning to become lost. A little more physical theatre in such places would have gone a long way, especially for a younger and restive audience.
That said, the overall relentlessness of this production is the key to its success, and even when honour is restored and all’s right with the world again, there remains the nagging sense that the plots, intrigues, scandals and betrayals haven’t quite gone away forever. Just like life in our own times, really.
Stu McLoughlin as Macbeth and Patrycja Kujawska as Lady Macbeth
Macbeth is at Tobacco Factory Theatres on February 19-March 28 at 7.30pm with matinee shows on Thursday and Saturday. Visit www.tobaccofactorytheatres.com for tickets.
All photos: Craig Fuller
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