Shakespeare’s fiendish tragedy takes another form in this new interpretation playing at London’s Rose Theatre ahead of its New York and Edinburgh runs. Guillermo Nazara shares his views on the show, to let us know if this re-imagined version of a classic is bound for a tomorrow, and tomorrow, and tomorrow.
“Double, double, toil and trouble”, chant the three crones by their fuming cauldron, as their incantations prophesy an even gloomier potion brewing in someone else’s fate. The bizarre mystery surrounding Shakespeare’s arguably uncanniest work may be the main reason for its longevity. Besides its frightfully crude analysis of the human psyche and the decadent depiction of its motivations, it’s the dark lore set around it that makes The Scottish Play feel like such a guilty pleasure.
There’s something harrowing about just sitting in a theatre when you know that’s what’s waiting behind the curtain. And yet, your eyes couldn’t be more fixated. The infamous curse may be taking its toll, after all – indeed, putting a spell upon its audience with its eerie allure of doom. Like it or not, you can’t escape that first buzzing rush jabbed by its ghostly atmosphere. Hardly no one could deny the excitement of coming to see the Macbeth play. And even fewer would dare question that feeling when it comes to playing Macbeth. But if there’s something we all should find consensus on, that is that, by all means, you do not play with Macbeth.
This week, the Rose Theatre hosts the last London performances of this new take on The Bard’s unspeakable masterwork. Subtitled An Undoing, this reinterpreted version takes us through a dual narrative of meta fiction, where the personages navigate through two separate worlds narrowly flowing against each other. On one hand, it’s the political universe that the genius from Stratford-upon-Avon once conceived. On the other, a troupe of actors occasionally breaking character – only to realize that both realities are, unwillingly, starting to converge.
Readapted and directed by Zinnie Harris, the piece introduces us to a compelling a premise: an updated recount on an all-time classic where the lead roles are reversed halfway through – thus, creating a new scenario where the new lead, Lady Macbeth, offers a more thoughtful perspective into her first twisted, later delusional and, finally, crumbling mind. Penned, nonetheless, with noticeable love and care for the traditional techniques of the Shakesperian style (the use of an audience-addressing raconteur in its opening is probably the best example), the script endeavors to carry out a gripping, enriched account by combining elements from the original with new of its own. But sadly, it never manages to bring anything that justifies any of its reworkings.
Presented as a modern psychological thriller, the play portrays an even colder, more manipulative Lady Macbeth, whose sense of guilt is practically erased by her solidified sense of self-entitlement. She did what she had to do to get what she wanted. Too bad, however, that her subconscious is not as clear as her reasoning. And the infamous blemish is bound to pop out in the end – in a way so sanguine she could have hardly ever imagined.
Though outlined with both intuition and introspection, none of those traits seem to flourish throughout its final delivery – giving us, instead, a rather shallow, and sometimes melodramatic, output where no proper character construction or satisfying evolution (apart from the components taken from the source material) appears to ever happen. In its place, we’re faced with rather repetitive dialogue and situations which, despite its attempts at submerging us into the protagonist’s mental demise, achieve nothing else but the opposite – pushing us away from the storyline through the use of confusing mechanisms that, far from digging into the cognitive side of the tale, unfortunately only make it look more superfluous.
With a set design by Tom Piper, the visuals are possibly the highest point of the production, setting up a sphere that mixes theatricality with dark, surrealism features – and which in spite of its simplicity, effectively accomplishes its purpose. Its success is evenly supported by Lizzie Powell’s bewitching lighting, weaving a misty fabric that generates cloudless narration wrapped in tantalizing haze. Wistfully, the same cannot be said about the cast, with several portrayals feeling too straight-jacketed and, most regretfully, underdeveloped. There’s the exception, in any case, of Liz Kettle in the part of Carlin (aka Witch and Maid), giving a most exquisite rendition delineated by its insidious charm and menacing appeal.
Parting from a rousing concept, Macbeth (An Undoing) still encapsulates the grim enchantment of its background, but fails to provide us with anything that actually matches the stirring power its precursor has spellbound audiences with for centuries. To tamper with the oldies is always a tricky business, but it can be a most profitable one if the right channel is found. A more thorough (and truly different) look into the characters’ journey will allow the piece to reach to the level it aims for, but still stumbles to get a hold of. There’s a way for it to strike gold. But so far, it’s just been another prick on the thumbs.
All pictures credit to Ellie Kurtz.
Macbeth (An Undoing) plays at London’s Rose Theatre until 23 March before playing in New York and Edinburgh. Tickets for its current run are available on the following link.
First Night Magazine 