It’s not simple to get to without a car and somewhat draughty, but the BMW Group Plant is an undeniably impressive venue for a play; and the location is not the last of the surprises in store in this unusual staging of Macbeth. The production begins with stage-magic and escapology acts in an ante-chamber to the theatre, with the performers working lines from the play into their banter. This disorientating start bears no apparent relation to the play itself, and seems rather to have been quirkiness for the sake of it. This tendency continues throughout the play as the line between innovative staging and gimmickry is occasionally crossed.

The treatments of some scenes were very effective, particularly the representation of the witches as one woman within a mirrored booth, surrounded by her reflections. Portraying the scene in which Lady Macbeth attempts to muster her courage as the casting of an actual spell was also a darkly potent touch.

Other aspects of the production were less effective. For example, while the use of cars for some entrances and exits was a fun nod to the venue and sponsors, it added little to the play. The choice of costumes was a little confusing, with the soldiers being dressed in modern combat gear though armed with swords, while Lady Macbeth’s dress was more reminiscent of the 1950s. The music too, while effective, added to the uncertainty about the period.

Special effects were used heavily, and for the most part successfully, though the scene with Banquo’s ghost induced audience laughter rather than horror. This was outweighed by the successes: the sensory assault of the storm, or the eerie and moving slaughter of Macduff’s family. The climactic fight scene, in particular, was non-traditionally but marvellously done, convincingly choreographed and bloody.

The acting was good, particularly Richard Stacey and Marie McCarthy as Macbeth and his wife. The echoing venue was not well suited to subtlety of expression, but it did add weight to the more dramatic scenes. Overall, then, an innovative production that takes risks but justifies them with moments of stunning theatre.

Alex Williams 04.03.02