The National Theatre brings the visually stunning production of Shakespeare’s tragedy Macbeth, directed by Rufus Norris (Cabaret, London Road) and designed by Rae Smith (War Horse, This House), to the Theatre Royal as part of their tour of the UK and Ireland until Saturday 23rd February.
This stylised depiction of one of Shakespeare’s most intense plays is set in a corrupt, barbaric world where survival is the common goal. The dark and dystopian set design is the key feature of this new reworking of a familiar tale.
The overpowering stage designed by “War Horse” set designer Rae Smith, has very little colour other than dark and grey, soundtracked by eerie and sinister music throughout.
The production feels like the Scottish Play has been remixed with tones of Game of Thrones and Black Mirror to make it edgier and more appealing to the modern day audience.
The urban design is complemented by the gender neutral costumes of the characters. Gone are the regal clothes and military weapons, replaced with both males and female figures dressed in anoraks, jeans, combat clothes and basic armour ready to do what is necessary to survive. The setting jars with the traditional Shakespearean language of the play however the poetic finesse of the delivery from each of the actors on the stage ensures that the message is delivered with a punch.
The famous witches open the scene has been given a dystopian and acrobatic presentation.
Macbeth is played by Michael Nardone who gives a strong depiction as an ambitious, power-hungry military leader in the first act before transitioning through a range of emotions without losing that warrior core.
Kirsty Besterman delivers a chilling depiction of the Lady Macbeth, emphasising her place as wife and co-conspirator as the plot and the aftermath of bloody actions play out.
One particular stand out scene was the banquet scene where the ghost of Banquo (Patrick Robinson) appears to haunt Macbeth and orchestrate the downfall of his character as he begins to break-down racked with guilt over his actions. In this scene we begin to see the bravado of a man filled with pride and ambition disintegrate into the torment of a figure at breaking point with regret.
The demise of Lady Macbeth, which is often merely alluded to in other productions, is cleverly staged to show Macbeth embracing his wife softly and quietly before delivering his “Tomorrow, and tomorrow, and tomorrow” soliloquy with tender emotion.