Review of ‘Macbeth’: “What bloody man is that?”

The Bard’s signature piece dealing with lust, corruption and ambition travels around all around the London scene through this new itinerary production by Shakespeare In The Squares. Guillermo Nazara shares his views on the show, to let us know if this reenvision of the author’s horrible imaginings ends up bringing up present fears.

Just so you know, I am appalled to write this review. You wanna know why? To be honest, I find no point in asking, I’m still going to tell you… Anyway, it’s not that I like to discuss my life too much (if only I could say that with a straight face…), but the thing is that, when it comes to discussing theatre, I need the proper place to bubble up my thoughts and stream them down onto the paper – or screen, whatever; it’s Shakespeare, let me be poetic, for f…asltaff’s sake!

Never mind – the thing is that, if you want to find me (because I know you do) when I’m typing my lovely words of spite, your safest bet would be to search for me at some theatre with a cafe. Today has been no exception. And, as I prepared myself to start this entry, and kept talking to myself telling me what to do (people around me seemed amused, or concerned – I really can’t tell the difference), the impossible happened. Unprovoked, unexpected, unintentional… But anyhow, real now. Contrary to all I believe in, I still allowed myself to do it. And in the most casual, and heedless of ways, I uttered the forbidden name…

If you’re wondering what’s the use of bringing up all this drama for the opening of a review, let me tell you that this might be, in fact, the only one you’ll get in this version of The Scottish Play (I’ve done enough spitting for today, thank you – don’t dig in…). Shakespeare In The Squares opens its Autumn-Winter season with one of the Bard’s greatest tragedies. But surprisingly enough, there’s not much sadness, grief or peril accompanying this doomed tale of ambition, betrayal and madness.

Present an abridged 90-minute version of the original text, which is still mesmerizingly faithful to the author’s original prose, the montage preserves the core elements of the story in regards to the action – something that secures the robustness and appeal of the recount. The problem, though, lies on what actually looks like a complete deviation in tone – which, however intentional it might be, seems anyway disloyal and somehow ineffective to the essence of the piece.

Theatre, of course, is a living creature (no, I’m not under influence of anything – I’m just being poetic). But that doesn’t mean that changes are always welcome; or at least, advantageous. Directed by Sioned Jones, the montage maintains the treacherous seductiveness of the source material. Yet, a great deal of that merit comes from Shakespeare’s masterful play with words, as well as his understanding of the human spirit and its subsequent corruption. Jones’ approach sustains that concept, but unfortunately doesn’t provide anything to help elevate or even accentuate it – leaving us with a more vapid replacement that sometimes achieves the opposite effect; and too many, feels excessively (and unnecessarily) jokey.

There are still aspects that must be acknowledged (and even praise) all through the performance, nonetheless – starting by its absolute victory at making the play more accessible to general audiences. Featuring two original live musical numbers (written by Anne-Marie Lewis Thomas) to serve as opening and conclusion, as well as packed with amusing interactive moments and a few scattered gags, the production succeeds at conveying an entertaining jaunt capable of converting even the most hardcore billyphobes (the “w” would have given other connotations…).

At the same time, the company makes a remarkable effort at bringing such a complicated tale alive with only 5 members. But no matter how commendable this achievement is, the flaws in its reduced casting are just as noteworthy – often, creating confusion as for who is playing who. It’s true, though, that text gives away that information at some point – but the fact that we need to wait for it compromises the engagement into the account’s universe, and wistfully builds a soft level of disconnection with it.

It’s a problem that, nonetheless, could be easily solved with the inclusion of only two extra actors (with the ones playing Macbeth and his wife never changing roles). It’s an improvement that not only would it contribute to the flow and understanding of the material, but also add up to the complexity and evolution of the protagonist – permitting the viewer to experience his transformation in a clearer way; and in some perturbing manner, bond with his fall into his personal inferno.

In any case, there are several mentions to be made within the troupe – beginning with Sam D’Leon in his multi-sided portrayal of Duncan, Fortune Teller, Macduff and the doctor, exuding flair, charm and pungency through his overall humorous take, which anyway manages to draw some elements of poise and poignancy. At the same time, Molly Walker makes a memorable appearance as Ross, Fortune Teller, Lady Macduff and Seyton – primarily standing out through her soaring stamina and infectious comicality. Yet, the greatest plaudit is fairly earned by Gavin Molloy as Macbeth – flaunting effortless dexterity, sentiment and in insight in his delivery of the Bard’s compositions, while endowing his personage with pathos and vulnerability.

A masterpiece can only remain a masterpiece. New productions assume the hard task of doing justice to a work that’s preceded by towering expectations – and can only hope for the best before its most belligerent zealots let their knives out. Shakespeare in the Square’s ‘Macbeth’ is far from spilling more blood on the carpet than the one it throws onstage, but it’s still halfway apart from becoming king of the castle. Already in good shape, it’s the little tweaks that will ultimately lead to that massive difference – making their version transition from one more in the list to the kind that could end up at the very top. You may disagree what what’s been said – but deep down, you know that devil can speak true…

Macbeth is currently playing in venues all around London until 30 November. Tickets are available on the following link.

By Guillermo Nazara