Theatre productions of Macbeth often run alongside A Midsummer Night’s Dream, as both plays draw on a common theme of the supernatural in a complementary way: mischievous fairies and magical misunderstandings vs the terrifying world of witchcraft and murderous prophecies. This performance by the reputable Watermill Ensemble would have been better suited to the lighter and more whimsical play; as despite good acting throughout it was anachronistic to have such a rock’n’roll cast performing 'the Scottish play’.

The song repertoire including ‘Paint It Black’ by the Stones (could we please, just to have something in keeping with the bard, rename them ‘The Scones’, as that is where Malcolm finally becomes king?), 'House of the Rising Sun' by The Animals, and 'Hurt' by Nine Inch Nails was well performed, with live instrumentals, but totally incongruous from start to finish with the medieval world of Kings and Thanes. Lennox even kept reappearing strumming a red guitar. The play at times dipped into musical theatre, but with absolutely no relation to dialogue or theme. I would have enjoyed seeing these excellent actors and singers in a gig - but we were here to see Macbeth. I wanted to understand the complexities of Shakespearean language and syntax. Actual soliloquies, important soliloquies, were totally understated. Lady Macbeth (Emma McDonald) gave a solid performance, as did Billy Postlethwaite as Macbeth. Indeed, there was great acting throughout. But the audience were sidetracked.

The set was also excellent: in a foetal, womblike way it did reflect the dark, floundering and superstitious world of Shakespeare’s imagination. But in the second half we spy an illuminated sign ‘Hotel’ missing the 'OT'. We are now in ‘HEL’. That’s a bit savoury scone, methinks. I'm talking cheese.

Another obstacle to my enjoyment (and comprehension) of this production was the gigantic height of my fellow theatre goers. I think people born of the 1970’s may now need booster seats in order to appreciate Shakespeare. The show was tailored to a post- Peaky Blinders audience: remember when music was in the background, anyone? And in keeping with the historical ascendance? And when actors and spectators were like this reviewer - 5'3 with bad teeth and splayed feet, not gargantuan sleek sexy guitar strumming Macbethean witches in silver lamé dresses?

The Watermill Ensemble returns for their fourth year in a row, taking on Shakespeare's bloody tragedy. The group brings together a cast of actor-musicians (with a 50-50 gender split) and combine Shakespeare's text with live music. It is a style that breeds fascinating results.

This production is drenched in musicality, an electric base propelling proceedings along. It makes for a particularly sprightly Macbeth, with a first half that whips along at a terrific pace. The likes of 'Paint It Black' and 'House of the Rising Sun' are sung by the ensemble whilst the XX's 'Intro' becomes a refrain throughout. For those unfamiliar with the play (one that has remained firmly nestled in educational syllabuses) it tells of a couple, driven on by prophecies from a trio of witches, to commit bloody deeds to become rulers of Scotland. My sister was particularly impressed by the production, commenting how she wish this had been the version she saw when the text was studied at school.

One of the strengths of the Watermill's Macbeth is the ensemble that performs it. They bring a vibrant energy to the production, rarely stopping to let the audience catch their breath. It really is terrific to watch the cast so competently switch between the text and the music performed and they each manage to breath life and personality into their role, no matter the number of lines it has. Billy Postlethwaite's Macbeth is a physically imposing figure, dominating many of the scenes he is in. And yet it is Emma McDonald who stands out, making a compelling, oddly sympathetic Lady Macbeth. There is a restraint in her performance, with the famous "out damn'd spot" moment refreshingly underplayed. There is a noticeable dip in energy in the second half as Lady Macbeth retreats from proceedings, with Macbeth feeling closer to a competent production than the grippingly volatile one it initially resembles.

One of the elements that gives Watermill Theatre productions such a quality is a creative team who feel used to the space they are working in. Katie Lias' terrific design (with proceedings taking place in a burnt out husk of a stage) is marked by an adaptability that allows the intimate space to be transformed into various locales with minimal effort. Tom White's lighting is haunting, drenched in atmosphere, aided by effective sound design (David Gregory), and terrific use of projection (crafted by Louise Rhoades-Brown), particularly in the play's final moments. Each of these creatives has a previous credit at the Watermill and show an awareness of what can be achieved in this very special theatre.

Artistic director Paul Hart's theatrical experiment in the form of The Watermill Ensemble goes from strength-to-strength with its fourth work by the Bard. The lyrical quality to this Macbeth propels the production along, aided by an animated cast and roster of exceedingly talented creatives. And in McDonald's Lady Macbeth it has a fascinating interpretation of an overly familiar character that feels refreshingly new.