Act I
The performance begins with some music – first bagpipes,
then some intense percussion from the company. It leads right to the first
scene, and after the first line, all other characters beside the witches rush
off stage. Duncan (Gawn Grainger) and the others enter up center. The Captain,
however, comes up from the audience, a bloody wound on his forehead. The
Captain delivers his lines with excitement, until his wounds stop him. The
witches, interestingly, are dressed in ordinary clothing, as if they are able
to pass unnoticed among other people. But in the third scene, they strip off some
of the clothes, and put on strange crowns, and are eerie as they deliver that
speech in unison just before Macbeth and Banquo enter. They then move stage
left. Banquo (Billy Boyd) laughs at the prophecy of the witches, before seeing
Macbeth (Joseph Millson) takes them seriously. The witches exit through the
audience, and Macbeth tries to follow them. Macbeth is startled, then excited
when he is proclaimed Thane of Cawdor.
In the next scene, when Macbeth and Banquo enter, the
others applaud Macbeth. Duncan actually kneels before Macbeth on “That swiftest wing,” causing Macbeth to
quickly kneel before him, so that all kneel, a humorous moment. Duncan pauses
after “our estate upon,” as he is
handed a ceremonial sword, then continues: “Our
eldest.” Malcolm (Philip Cumbus) is surprised at being named. His thoughts
seem elsewhere. Lady Macbeth (Samantha Spiro) enters as Macbeth is finishing
his last speech. This production moves swiftly. The awe and excitement on her
face at the news in the letter is excellent. It is like something she has
dreamed of, and now is finally possible. And she will do her best to make it
happen. She kneels before “Come, you
spirits.” It is an earnest prayer. This Lady Macbeth means business.
Macbeth rushes in and embraces her, a sweet moment. He is then surprised by her
words. Duncan and the others enter from the audience. On “By your leave, hostess,” Duncan gives her a little kiss.
Immediately then cheerful music plays, as in celebration. And all exit.
Macbeth has a great nervous energy at the beginning of
his “If it were done, when ‘tis done”
speech. And we see the changes of his thoughts throughout the speech. After
Lady Macbeth enters, Macbeth gives a short pause before “all sorts of people,” as if he can’t think of anyone really who has
“golden opinions” of him, getting a
laugh from the audience. He is then surprised that Lady Macbeth questions his
decision, a nice moment. Clearly he expected her to back up whatever decision
he made. It is a moment when he learns something about her character. Macbeth kisses her before “I am
settled.”
Act II
There is some humorous business between Banquo and
Fleance. Banquo then becomes quite serious in his countenance before telling
Macbeth that he dreamed of the weird sisters, an excellent moment. Banquo
senses the fun is over. And it is clear from his reaction that he doesn’t buy
Macbeth’s claim that he doesn’t think of them, another excellent moment. Then
Macbeth is fantastic on the “dagger of
the mind” speech. I love Lady Macbeth’s change from fearless to frightened
when she hears the shriek. When Macbeth enters, he carries the two daggers in the hand away from Lady Macbeth, so it is believable that she doesn’t see
them right away. When he turns to exit to follow her advice to wash his hands,
she then sees the daggers.
The Porter enters from below the stage through the trap
door. He has the red nose of a drunkard or clown, or both really. Macbeth adds
a line, “Come on, back in your box,”
to the Porter, ushering him back down through the trap door. There is more
humor as Lennox makes small talk with Macbeth after Macduff (Stuart Bowman)
exits. And Macbeth’s “’Twas a rough night”
gets a big laugh. Donalbain’s “What is
amiss” shows a bit of displeasure at being woken. And Malcolm has something
of a haughty attitude. Macbeth carries Lady Macbeth off upstage after she
faints.
Old Man enters slowly, thoughtfully from upstage center,
and is played by the same actor who plays Duncan, which gives his lines an
eerie power, like a voice from beyond the grave. He enters alone, without Ross,
and so delivers his lines to the audience. Ross’ lines are cut. Ross and
Macduff then enter together, Ross’ first line being “How goes the world, sir, now?” Old Man then goes and sits down,
without being noticed by Ross or Macduff, further giving him a spectral vibe.
The Old Man’s lines are cut from the very end of Act II.
Act III
The Old Man remains on stage as the sennet sounds, and
King Macbeth and others enter solemnly. Then Banquo speaks the first lines of
the third act. When the others exit, so does the Old Man. On “To be thus is nothing,” Macbeth removes
his crown. He replaces it on “fruitless
crown.” The murderers don’t respond after Macbeth’s line “Now have you considered of my speeches,”
and in the pause that follows it is clear they don’t want to commit the deed,
leaving Macbeth to persuade them. It’s a wonderful moment. The servant in this
scene, who of course was privy to Macbeth’s discourse with the murderers,
remains standing on his spot for the next scene when Lady Macbeth enters and
asks about Banquo, a nice touch. Lady Macbeth then sits at the edge of the
stage for her next speech. Macbeth shouts the line about the scorpions. Then,
without even being conscious of it, Macbeth has his hand on Lady Macbeth’s
throat, frightening her. This is excellent, for it is here we begin to see a
change in her as well as in him. They are moving in different directions now.
There are at first only two murderers. Then the servant enters, and opens the
trap door and kills both murderers, then finishes off Banquo.
Macbeth enters happily, greeting some members of the
audience while the table is being set up for the banquet. Interestingly, Lady
Macbeth delivers her first lines of the scene from the edge of the stage, as if
frightened of Macbeth now. The murderer is at the other side of the stage. Lady
Macbeth does then come to the table. On Macbeth’s line “our Banquo present,” the ghost of Banquo enters from stage right
and sits at the table opposite Lady Macbeth in the place Macbeth would have
seated himself. Macbeth then flees into the front of the audience. Macbeth’s
frantic toast is wonderful. On his “Would
he were here,” he rushes to the side of the stage where Banquo left, as if
to make sure he’s gone. Banquo then enters from the other side. Macbeth exits
after “We are but young in deed,”
leaving Lady Macbeth at the table alone. After a moment, she too exits, and
that’s when the intermission comes (at the end of Act III Scene iv).
Interestingly, after intermission, Banquo sings a song. Lennox then enters and
delivers his lines to him, so Banquo is in effect playing the part of Lord. The
Lord’s lines are cut, and after Lennox’s “borne
all things well,” he and Banquo exit.
Act IV
The witches now look eerier, with white paint upon their
faces and arms. There is no actual cauldron brought on stage (though some stage
smoke rises). None is needed, for the three actors make us see clearly what isn’t
there. They are mesmerizing in this scene, and a drum beats throughout. They
sing the lines “Double, double, toil and
trouble/Fire burn and cauldron bubble,” like it is a chorus. Macbeth enters
from the audience. The witches play the apparitions. It is truly frightening.
Lady Macduff (Finty Williams) is understandably angry at
her husband’s flight. She pauses after Ross’ exit before she delivers her line
about Macduff being dead. I like her feisty nature. Lennox is the messenger who
delivers the warning to Lady Macduff. Interestingly, Macduff enters for the
next scene before Lady Macduff is led off to be killed, so for a moment they
share the stage together, though he does not look upon her. It sort of proves
her right, doesn’t it? For there he is, and he does nothing (even though, of course, they are in separate scenes). That leads
straight to Malcolm’s line about seeking “desolate
shade.” On Macduff’s “We have willing
dames enough,” he indicates people in the audience. And on “his jewels,” Malcolm indicates a
particular man in the audience. The Doctor is cut from Act IV Scene ii.
Act V
The Doctor of Act V Scene i, however, is played by the
same actor who played Duncan and Old Man. Lady Macbeth is excellent in this
scene, her anguish is frightening. The men of the short second scene are in all
parts of the theatre, delivering their lines from within the audience. Macbeth’s
reaction to the servant is excellent, as is the Doctor’s reaction to Macbeth’s
order to “Cure her of that.” Seyton
is the servant from earlier who acted as murderer. When the men go to hew down
branches from the trees, they exit into the audience to do so. There is a nice
pause after Macbeth hears of his wife’s death, and his demeanor changes. He
delivers that great eloquent speech (the “Tomorrow
and tomorrow and tomorrow” speech) softly, and we see that he did love his
wife. It is a moment when everything else is on hold, when everything is clear
to him, and it is a moment that does not last long. The messenger then enters from the audience with news that makes
Macbeth agitated again.
Malcolm and the others enter with branches from within
the audience. Macbeth so easily disarms Young Siward that he actually pauses
and tosses the sword back to him to allow him a second chance. His fight with
Macduff is accompanied by drums, and is quite serious. Macduff eventually
breaks Macbeth’s neck, and does not cut off his head. Malcolm then enters, and
Macduff says “Hail, King! for so thou art.”
So the dialogue with Siward, Ross and Malcolm is cut. At the end, one of the
witches plays a melancholy tune on violin, and the actors all return to the
stage. The tune becomes prettier, even uplifting. Then the company engages in a
dance.
This production of Macbeth
was directed by Eve Best, and was directed for the screen by Sue Judd.
Time: 141 minutes (though the DVD packaging indicates it
is slightly longer)
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