'Macbeth' Review - Icarus Theatre Collective (Yvonne Arnaud Theatre, Guildford - 20th Sept 2011)
I remember ‘Macbeth’ from School…as a teenager (some time ago now…) I became captivated by the written word and whilst my classmates groaned when the teacher began to speak the words ‘we’ll be studying Shakespeare’s…’ I was thrilled; Shakespeare’s verse was to me, poetic, beautiful, tragic and exhilarating.
Though I also vividly remember sitting in a classroom being disappointed by an actor’s interpretation of the infamous ‘to be, or not to be’ soliloquy in ‘Hamlet’ and watching productions which seemed lifeless and did not encapsulate the genius of Shakespeare’s tragedy’s.
Shakespeare, I believe can sometimes be played too austerely, not wanting to offend, the production steers on the side of caution and the audience receives a good but uninspiring play which is why I was looking forward to see the International Tour version by Icarus Theatre Collective (they had previously produced a shorter version of the play at this year’s Edinburgh Fringe Festival).
Icarus Theatre Collective, renowned for its bold and striking productions which are both visceral and intellectual and with a body of work including ‘The Lesson’ (Eugène Ionesco), ‘Journey’s End’ (R. C. Sherriff) ‘Othello’ and ‘Hamlet’ (William Shakespeare) my expectations were high…and I was not to be disappointed.
In the Yvonne Arnaud Theatre in Guilford about an hour from London’s west end I watched intently, captivated and on the edge of my seat.
This production of Macbeth was exhilarating, tragic, intelligent, beautiful and blood-thirsty. The witches played by the terrific Richard Hay, Emma Carter and Sophie Brooke were wonderful to watch, their movements, bird-like and at points skilfully in unison were a refreshing take of the witches of 'Macbeth', far too often clichéd in both film and stage adaptations.
These witches, clothed simply brown hooded cloaks were living creatures on stage and I was waiting in expectation for the ‘double, double, toil and trouble’ scene which was excellently wicked and simply done, a unique choice of using five small plinths in a circle to represent a cauldron.
The set itself, simple yet striking is all you need to visualise the time and the action on stage. It’s slightly gothic, giving the production that sense of impending tragedy, darkly deeds and most of all its hauntingly atmospheric. Look out for the bane moon and the plinths on stage during the play…
Joel Gorf who plays the lead role as Macbeth is just mesmerising to watch. Brilliantly cast, he is the embodiment of Macbeth and plays the character with brutality but an underlying vulnerability that is not seen often in ‘Macbeth’ and hardly ever done well. His Lady Macbeth played by the wonderful, Sophie Brooke is a refreshing take on the character. Lady Macbeth is played wonderfully manic, a sexual and power-hungry creature, loosing control before our very eyes. I can’t imagine another actress doing this role, to me this portrayal encapsulates the character completely.
One added touch, which makes this production truly amazing, is the transformation of the actors doubling up into various roles and what is remarkable is that you don’t really notice. The transition is so seamless and the actors so talented that this feels natural and you’re clear as to who’s who on stage.
The success of this can be seen by Matthew Bloxham who plays Banquo, The Doctor and The Porter. Bloxham seamlessly changes to each character and it is through this change we see the distinct qualities of each. From a strong and loyal Banquo, a character endearing and heroic to the Porter - the fool in the play providing comic relief (brilliantly executed by the actor with excellent comic timing) to The Doctor, where I had to double take to see if this was indeed the same man, as with his hair slicked back in this scene (the actor has naturally curly hair) and a completely different stance, mannerisms and accent I was amazed by his versatility.
The sound effects and music within the play is carefully done, which encompasses an almost cinematic feel to the production. Watch out for the chilling use of sound in the murder scene of Lady Macduff and child.
The fight scenes within this production of Macbeth are something to behold, choreographed brilliantly, they are almost terrifying. I could feel the adrenaline coursing through my veins, and I was a mere audience member sitting in the stalls. Gone from my mind were all the fight scenes in Shakespearian plays that I have seen on stage where the actors are being too careful and delicate in their movements.
These fight scenes are brutal yet beautiful and harmonious at the same time. Coupled with striking and complex lighting cues these scenes are one of the many highlights of the production. The opening battle in particular sets the tone for the play and is brilliantly executed by the cast of what appeared to me as very accomplished stage-combat trained actors. Most notable also is the final fight scene between Macbeth and Macduff (brilliantly played by Joel Gorf and Costa Chard) where the fighting is amplified by the excellent acting and emotional range on stage, Macduff’s vengeance perfectly executed by Costa Chard and is a joy to watch.
And where would a production of 'Macbeth' be without the use of blood, such a powerful and emotive signifier and difficult to get right. Too much and it appears brash and senseless, too little and the audience is left wondering what the red-like substance is from the balcony seats. Let’s remember too that blood is messy, even more so when you are a mid-scale touring theatre company but Icarus Theatre Collective makes it work and deliciously well! After Macbeth has killed Duncan, the blood transfixes Lady Macbeth and it’s this signifier that tells the story of Macbeth’s bloody deed and the beginning of Lady Macbeth’s decent into madness.
So I implore you to find a venue near you and watch this for yourselves, this ‘Macbeth’ is something to behold, it pulls no punches, it develops these characters into flesh and blood human beings and the director, Max Lewendel is instrumental in making this happen. For without a concept and a vision and the execution of this vision by a stellar cast and stage manager this ‘Macbeth’ would fade into the background with the many other productions produced every year. As it is, it shines brightly and like it’s name implies, Icarus Theatre Collective has wings and long may it continue to be fearless in pushing boundaries, challenging it’s audiences and creating powerful and moving drama.
http://www.icarustheatre.co.uk/shows/macbeth.html#a
