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| Macbeth hath murdered my sleep |
Newcastle. Evening. Tyneside Cinema.
The tiny lobby is packed with folks of all ages, all politely awaiting the cue to queue into the theatre for the sold-out broadcast. When the time comes, my friends and I file past the signs for upcoming films ("The World's End is playing in the UK already? We have to go see it next week!") and find our seats in the front row. Refreshments are being sold in the theatre proper--pop and beer and "cinema-sized" ice creams. I get a Blue Moon and have a seat.
The room is packed, but far more calm than I would expect from a similar screening back in the states. The program is filled with future Shakespearean fare: a modern-day interpretation of Othello, Tom Hiddleston as Coriolanus, encore screenings of Rory Kinnear's Hamlet. I sip my beer and settle in.
An NT representative lady appears on the screen and says it's ok to clap after the showing, because even though the stage actors in Manchester cannot hear us, they can feel the spirit of our appreciation. This gets a laugh from most of the audience behind me, which I find strange; back home, I've seen several plain old film screenings like The Avengers or The Hobbit where people would clap prompted by nothing more than their profound enjoyment.
After the lady interviews the co-director, Rob Ashford, and he fawns over Sir Ken's prowess, the production begins. There are unseen cameras positioned everywhere in the deconsecrated church where the play is housed--it seems as many as you tend to see floating and angling around stadiums during major American football games on ESPN. It affords a very intimate and satisfying view of all the proceedings.
The weird sisters appear, and a rainy, muddy battle begins. All the scenes play out in the slippery grime, staining clothes and shoes and robbing the actors of perfectly graceful strides. The mud enhances the visceral, earthy feel of Macbeth, showcasing the truly ancient and pagan nature of this play's dark and violent themes.
Sir Ken's Macbeth is clearly good-hearted and humble at the start. He and Banquo are genuinely startled by the sister's prophecies. When Alex Kingston's Lady Macbeth reads her husband's letter, she is joyous and enthusiastic on every level, and the dark starts to creep in. After seeing Macbeth in battle, and seeing his wife declare her ambitions, you eagerly anticipate the moment he reappears and they embrace for the first time. The reunion scene is crackling with sexual tension.
The scenes fly by quickly, with no pause between them whatsoever. The overall feeling of the production is one of the "vaulting ambition" o'erleaping itself, but it never falters and falls. It sprints forward, and while you feel Macbeth's sense of being rushed, you as the onlooker can still keep up just fine. The soliloquies that are traditionally slowed so the audience can rubberneck would be almost glossed over if it weren't for the gravitas the actors give them.
The following scenes struck me the most:
1) When Macbeth sees the dagger before him, at first, it is simply light from the cross-shaped window falling on the ground, stretched and distorted by its sharp angle, throwing a giant bright sword on the mud.
2) After Macbeth is crowned, he presents himself as confident and regal, and sends Banquo off with all the friendliness their relationship deserves. But as soon as everyone leaves the stage but Macbeth, he goes through his "barren sceptre" speech with paranoia and urgency, then curls up in the throne under his cape, childlike and fearful.
3) In the sleepwalking scene, Alex Kingston appears to be channelling the weird sisters in flashes and starts, lending an especially disturbing supernatural possession to her condition.
4) Macduff's "All my pretty chickens" scene is heartbreakingly delivered by Ray Fearon, with an intensity that approaches, if not equals, even Sir Ken's performance.
5) Macbeth's "Tomorrow and tomorrow and tomorrow" speech always seems to read with a catatonic shock, and I've seen some movies and clips where it's delivered with a steady low affect and monotone voice. Sir Ken begins it that way, but halfway through, he breaks down entirely, weeping and dripping with tears and snot. He is barely able to finish the last line with any kind of audible voice, and you completely believe that he's still a good man deep inside, simply and tragically grieving for his beloved wife.
Some other fascinating points include:
1) The weird sisters appear even when they have no lines or don't normally show up in a scene, and their presence imparts the not-so-weird idea that they have a lot more control of the entire drama than expected.
2) The same actor who plays Duncan later plays Seyton, Macbeth's assistant/military officer.
3) The "cauldron" that Macbeth sees when he revisits the sisters is made up of actors on the ground, shaking a giant round sheet, out of which the sons of Banquo emerge and walk past Macbeth in zombie-like fashion.
4) Alex Vlahos, who deftly plays Malcolm, was the same actor who played Mordred on the BBC's series Merlin. It was fun to see him pop up!
5) Patrick Doyle's score, as usual, sneaks in and heightens the mood of every scene with that skillful subtlety that you barely know the music is there. Awesome.
In the end, you get a very highly anticipated Macbeth/Macduff battle. When Macduff reveals the truth about his birth, Macbeth visibly loses his shit, and musters all the remaining energy he has toward going down with a fight.
Clocking in at just over two hours, this Macbeth was a whirlwind of solidly magnetic characters and fierce action. The eerie setting as well as several intriguing individual performance choices at key moments made the play feel as fresh as if it were written yesterday... as it should be with Shakespeare. It should never feel static and dry, which is something that even Joss Whedon's lovingly re-imagined Much Ado About Nothing suffered from at times. More on that next week, though.
If you get the chance to see an encore screening of Macbeth (or if this NT Live production gets released on DVD) definitely treat yourself to some high quality Shakespeare!
