“Better than the RSC version!” was the verdict of my impressed companion for the evening. As a relative Macbeth novice I couldn’t say one way or the other, but the newly-formed BMH productions certainly didn’t disappoint – this play is the most entertaining I’ve seen in a long while.
The acting (especially considering the young age of the players) was excellent, to the point where it’s hard to single individuals out. Edward Blagrove played the leading role with understated accomplishment throughout, while Eleanor Fanyika made a chilling and intense Lady Macbeth. Other acting highlights included a brutal climactic battle scene between Macbeth and Macduff, and the vampishly creepy weird sisters (the three witches), played more as sirens rather than hags in this version. Banquo’s loyalty turning to distaste at the depths to which his friend has been willing to sink in pursuit of the throne is also done very well, as is the brief but eerie appearance of Hecate, queen of witches.
The poisonous chemistry between Macbeth and his wife is also very convincing. Macbeth’s guilty torment is if anything underplayed, while Lady Macbeth’s ruthless ambition is quickly overshadowed by her own doubts and fears, making her the more sympathetic character.
What really makes this performance stand out is the pleasing way in which the director, first-timer Emrys Matthews, has filled the play with surprises, symbols and little twists, while at the same time staying true to a relatively straight, no frills approach to the script. The black shirts, armbands and leather coats worn by Macbeth and others inevitably recall another well-known despot’s bloody rise and fall without being overdone. A normally unremarkable scene in which Lennox discusses politics with another lord is unexpectedly transformed into comic relief, with Edward Caird performing an amusingly convincing drunken ramble. Most of the actors play two characters, and with one or two slight exceptions, it’s pretty seamless.
The inventiveness doesn’t stop during the interval either – look up from your wine and you’ll see the weird sisters gazing down from a circular gallery, as if casting spells over a giant cauldron containing the audience. Simple, yet stylish and clever with some brilliant performances, this play is highly recommended.
The acting (especially considering the young age of the players) was excellent, to the point where it’s hard to single individuals out. Edward Blagrove played the leading role with understated accomplishment throughout, while Eleanor Fanyika made a chilling and intense Lady Macbeth. Other acting highlights included a brutal climactic battle scene between Macbeth and Macduff, and the vampishly creepy weird sisters (the three witches), played more as sirens rather than hags in this version. Banquo’s loyalty turning to distaste at the depths to which his friend has been willing to sink in pursuit of the throne is also done very well, as is the brief but eerie appearance of Hecate, queen of witches.
The poisonous chemistry between Macbeth and his wife is also very convincing. Macbeth’s guilty torment is if anything underplayed, while Lady Macbeth’s ruthless ambition is quickly overshadowed by her own doubts and fears, making her the more sympathetic character.
What really makes this performance stand out is the pleasing way in which the director, first-timer Emrys Matthews, has filled the play with surprises, symbols and little twists, while at the same time staying true to a relatively straight, no frills approach to the script. The black shirts, armbands and leather coats worn by Macbeth and others inevitably recall another well-known despot’s bloody rise and fall without being overdone. A normally unremarkable scene in which Lennox discusses politics with another lord is unexpectedly transformed into comic relief, with Edward Caird performing an amusingly convincing drunken ramble. Most of the actors play two characters, and with one or two slight exceptions, it’s pretty seamless.
The inventiveness doesn’t stop during the interval either – look up from your wine and you’ll see the weird sisters gazing down from a circular gallery, as if casting spells over a giant cauldron containing the audience. Simple, yet stylish and clever with some brilliant performances, this play is highly recommended.