Project Macbeth

‘Project Macbeth’ written by Scottish born, Simon Sharkey for the National Theatre of Scotland. Sharkey started writing for TV’s ‘The Bill’ and moved on to ‘Dalziel and Pascoe’. Sharkey feels that whether a school student or a theatre audience member, the experience with drama should be a holistic, multi-art form, you should feel that you really are there and part of the story.

This one and a half hour presentation can be seen at the Garrick Theatre, Meadow Street, Guildford with all shows at 8.00 pm until 13^th July, except for a Sunday matinees at 2.00 pm on the 7^th July.

The set (designer Rob Whitehead) is a silver birch forest somewhere in the north of Scotland. There is a castle wall for the back of the stage; this also serves as a screen for some well-researched AV / Show Cue shots (Michael McAllan – operated by Clayton Reichert, Claire Marshall).

       The year is around 1560, about 500 years after Macbeth’s reign. Macbeth (Bryn Coldrick) is sitting on tree stump reading the Bard’s script of ‘Macbeth’. Mozzies and bees are everywhere, he rolls up the script and swats a bee and announces that is all the script is good for. It is full of inaccuracies, as for being ‘The Scottish Play’, it is a complete fabrication by some chap down in Stratford upon Avon and has nothing to do with Scottish history.

       Shakespeare’s version of the play then begins, as usual, with the three cackling witches (Ellen Jurik, Laurie Mulgrew, and Sarah House) who announce that Macbeth will become king. Macbeth steps forward and looking at the audience, angrily interrupts pointing out that he is already king in his own right, and doesn’t need their help. In the shadows, Banquo (Nicolas Kadmos), who Macbeth rapidly points out, is not even in Scottish history, intervenes to antagonise the king at every move, often arguing the case for Shakespeare.

     Lady Macbeth (Sherryl Spencer) enters and embraces her husband. Macbeth explains that she is not Shakespeare’s barren bitch, but a loving wife and is already a mother. However, she is keen to see her husband as King, so talks Macbeth into killing his main opposition, Duncan and blaming the guards. The drunken, dim porter (Bradley Towton) is asleep and knows nothing of what has gone on that night.

      Macbeth arranges for Banquo to be murdered, and so strengthens his hold on the crown. When Ross (Rodney Palmer) arrives with the news that Macduff the Thane of Fife (Rodney van Groningen) may be after the throne; Ross informs his king that Macduff has left his wife and child in a castle, whilst he travels south to muster an army to attack Macbeth. Seeing his chance, Macbeth seizes Macduff's castle and murders Lady Macduff (Rosie Coombes), however her baby survives.

       Both Macbeth and Lady Macbeth, with all of the blood spilling, are guilt ridden and start seeing visions.
      

        Will Macbeth survive Macduff’s grief, anger and approaching army?

Director Rob Whitehead has gathered a good, strong cast, and the acting was well up to expectations. Special mention, however, must be given to Bryn Coldrick, who has recently been proving his talents in madcap comedies like ‘Black books’ and now shows the depth of his classical skills. Likewise Sherryl Spencer outstandingly covered all of the emotions from happiness and love, to the miserable guilt-ridden wife, a beautiful performance. Nicolas Kadmos perfectly captured the nasty, supercilious Banquo. Finally, Rosie Coombes was heartbreaking as the mother protecting her baby. Four regal performances.

The costumes (Lynda Stubbs, assisted by Maureen Harvie), especially the gowns, were stunning with a great deal of thought put into the extras such as the trimmings and accessories. Steve Osborne, once again came to the rescue with the armoury.

A huge amount of thought has gone into the lighting (design and rigging by Don Allen, Michael McAllan and Sherryl Spencer). It is a long time since I have seen an array of mini-spots being used in the footlight, front of stage, position. The extra hard work of wiring these was worth it, the low angle of the lighting ensured the threatening atmosphere to some scenes.

This was an unusual presentation that would be most appreciated and understood, by an audience with a reasonable knowledge of Shakespeare’s play. The fresh approach is one that even the Macbeth specialists would really enjoy. The historical corrections were most interesting. Very clever script.

Not a play that I rushed to see, but certainly one that I am glad that I didn’t miss. A fun approach to a well-known tale.