Tag Archives: Paul Arditti

Mac Duff

MACBETH

Grand Theatre, Wolverhampton, Tuesday 12th March, 2019

 

I have lost count of the number of productions of the Scottish Play I have seen over the years; I have yet to see one that gets everything absolutely right.  This touring version of the acclaimed National Theatre production doesn’t, I’m afraid, do it for me either.

Set ‘now’ but ‘after a civil war’, the action takes place in a dingy world of camouflage gear and the kind of clothing that gives the cast the appearance of an urban dance troupe that has fallen on hard times.  I’m all for diversity in casting, but I can do without Diversity as an aesthetic.  I half-expected Ashley Banquo to come on and flip Fleance over the heads of the group.  Said Fleance is gender-swapped and dressed like a young rapper.  Nuff said.

Rae Smith’s set includes a large ramp, like a broken footbridge, which is initially put to good use but is then side-lined in favour of plastic chairs and beat-up sofas.  There are also tall poles, like bedraggled palm trees, up and down which the Three Witches clamber and slide like post-apocalyptic circus performers – I could have done with more of this kind of thing, and a bit less of their booming, echoey voices, which go against their other ethereal qualities.

Michael Nardone’s Macbeth is all right to listen to, but we don’t get the impression of a great warrior gone bad – especially not when he’s being duct-taped into his armour.  Kirsty Besterman’s Lady Macbeth’s first appearance, in khaki vest, has the look of a military physical trainer, which she trades up for some garish gowns, at odds with the rest of the design.  Besterman brings intensity though and her sleepwalking scene is rather good.

Instead of crowns, the ruling monarch sports a blood-red suit, and so Duncan (Tom Mannion – effortless in his nobility) looks like a lounge singer.  When Macbeth later dons the trousers, it brings to mind the “I am in blood stepped in so far” line, which makes sense of Moritz Junge’s costume choice at last.

I can’t take to Joseph Brown’s Malcolm in the slightest but I do like Deka Walmsley’s bawdy Geordie Porter, Patrick Robinson’s Banquo, and above all Rachel Sanders’s Ross – these three seem to get the most out of the language, while coping with director Rufus Norris’s decisions, some of which make Shakespeare sound ironic: “This castle hath a pleasant seat” (it doesn’t; it looks like half a portacabin) and “Never shake thy gory locks at me” (Banquo’s pate is as bald as a Malteser)…

There is some effectively dissonant original music by Orlando Gough, and Paul Arditti’s sound design adds to the eeriness – until it becomes intrusive – while Paul Pyant’s lighting is suitably dramatic.  But the action doesn’t grip me, the tragedy of a great man brought low by his ambition and supernatural interference doesn’t’ come across.

Ditch the camouflage get-up and the urban combat gear.  Let’s have a Game of Thrones version.  That would be relatable to the Youth too.

macbeth_ps_6

Ramping up the action: the cast of Macbeth

 

 

 

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Wine, Women and Song

BAKKHAI

Almeida Theatre, London, Saturday 22nd March, 2015

 

This new version of Euripides’s tragedy by Anne Carson has more laughs than you might expect. Observations about wine and women being a bad mix, for example, bring bathos to high drama and round out the humanity of the characters – this we can relate to if not their extraordinary circumstances. The staging is simple: distant hills are suggested by mounds, over which the cast clamber and stalk like goats, and the mechanics of the theatre are brought into use without artifice: a lighting rig like a flying saucer hovers above the stage, mist billows from a smoke machine…

Out steps Dionysus, god of (among other things) the theatre; the sublime Ben Whishaw captivates from the off. He is more than human, he tells us, and we believe him. Whishaw’s slight physique and rich voice (I’m trying not to think of Paddington Bear) along with a winning smile and androgynous appearance (like Conchita Wurst on her day off) have both appeal and a suggestion of power kept in check. Sly humour twinkles in his baby blues. He has the god’s duality down pat.

Scenes are punctuated by a chorus of nine women. They are acolytes as well as commentators and their timing is impeccable, in their a capella singing and the beating of their staffs. There is a hypnotic quality to them: Orlando Gough’s compositions have a Greco-Baltic feel to them. I expect they will work themselves into ekstasis as the action approaches its gory climax. But they don’t. Pity.

The splendid Bertie Carvel is calm and business-like as King Pentheus, dispensing orders to random members of the audience, “You go and burn his house down”. He is cool-headed and efficient – until, in a scene that foreshadows Pilate and Jesus, he encounters the hippy from Hell in close quarters, and is persuaded to go and witness for himself scenes of Bacchic ritualised mayhem, dressed as a woman. Carvel is dignified and stately in his female garb, like a greying Jerry Hall. He later appears as Pentheus’s mother, Agave, who is brought to realise what a terrible thing she has done to her own son.

Also excellent is Kevin Harvey in a range of parts: the elderly Cadmus, for example. It is the trio of men in the company who convey all the drama about which the chorus of women will comment. The men are the action, the women are the colour and the flavour.

The violence, as is the convention, takes place off-stage and is then described; our imaginations work better than any special effects – leading to a chilling and powerful denouement of sheer horror, as the god metes out his punishments to all and sundry.

It’s the power of the drama that affects, a couple of millennia down the line, in this stark yet engaging production. Whishaw shines, Carvel and Harvey add weight to Anne Carson’s lively and evocative script. James Macdonald’s direction, (using other-worldly sound design by Paul Arditti, and sudden, sharp lighting changes by Peter Mumford) takes us into a fantasy world where the outlandish events can take place. There are links to us: plastic bags, wheeled suitcases and so on, but it’s the human element that hits home.  You could link it with modern-day parallels about the excesses of religiously-motivated violence but for me it’s the longevity of a play and ancient theatrical conventions that strike at us in primal and esoteric ways that, like proud Pentheus, has me in pieces.

I emerge stunned into the Islington sunshine, having been engaged intellectually and emotionally. The line that sticks with me refers to another gift of Dionysus to mankind: “Wine is the cure for being human.” Now, there’s a religion I can relate to!

Divine!  Ben Whishaw as Dionysus (Photo: Mark Brenner)

Divine! Ben Whishaw as Dionysus (Photo: Mark Brenner)