Angelique Malcolm as Lady Macbeth and David Meadows as Macbeth. Photo Ken Miller
Three words can describe Bare Naked and Class Act’s production of Macbeth: simple yet effective. This performance of one of Shakespeare’s best known tragedies is a dark, stripped back production directed by Stephen Lee.
I’m in two minds about this production. I enjoyed the depiction of the
words but missed the dramatic and ‘performance’ element.
I haven’t seen the companies
perform before, and so I was pleasantly surprised at the intensity and
understanding the cast had on the language. The age of the cast
enhanced the production - a young Macbeth doesn’t ever seem to work (compared to a young Hamlet which is spectacular, but that is another story).
For a small cast of six, they
managed well with the constant changing and multiple characters. The
downside to this was the lack of personality with the smaller parts.
Simple costume changes and minor voice changes were undertaken, but
there was very little character development.
Indeed, that was a fault of the
show itself, in that it focussed primarily on the words, rather than
the background / development of the character. In an effort to scale
down the show, they lost many of silences and visual interactions that
may have brought further depth to the production. So too, did they
rarely stop for breath between scenes, giving the audience no chance to
stop and digest what may have happened in the scene prior. This is
always a fine line to walk as there is the chance that scene
cross-overs drag out, or silences become uncomfortable. In this case, a
few more pauses would have been beneficial.
One particular scene that could have done with a pause was where Macduff’s family is murdered. Slow to begin, the scene picks up and almost without knowing it, the boy (Angelique Malcolm) dies followed by Lady Macduff (a bland Olivia Hogan). It’s a pity that the scene afterwards between Macduff and Malcolm creeps on for so long, it is by far the worst scene in the play - in any version.
A bare stage - the set merely a few low boxes and branches, put the emphasis on the performers and the costumes. Designed by Meredith Ford,
these costumes are plain medieval outfits in neutral colours. They were
a little rough and ready (no hems), but well designed, with good
attention to detail such as clasps and belt buckles. The shoes were a
little less professional - it was evident some of the cast were wearing
uggboots.
Live sound effects produced with percussion, thunder board and flute/recorder greatly enhanced the atmosphere. The lighting by Aaron Stirk was gloomy yet effective, and the light flashes for the weird sisters were striking.
Macbeth, played by David Meadows,
was portrayed as a man fast loosing his moral compass as greed
overtakes him. He becomes a heartless tyrannical king who fears for his
throne, able to kill those who get in his way. Meadows gave a strong powerful performance as the haunted, tortured Macbeth.
The fight scenes were commendable. The fight between Macduff (an angry Dan Luxton) and Macbeth
at the end of the play is fast, powerful and menacing in the small
space. Real swords (as these looked to be) are heavy, so kudos for the
two gentlemen who looked like they fought everyday.
The vital role of Lady Macbeth (Angelique Malcolm) bordered on the overly dramatic and was a stereotypical performance, although the interaction between Macbeth and Lady Macbeth was convincing. Director Stephen Lee, playing multiple roles (Duncan, Old Siward, and various smaller roles) was efficient yet unspectacular.
I continuously have issues with the weird sisters (aka the witches). They are always played as a literal translation of the text - strange, ragged hags. Lee’s program notes suggested he would be undertaking something alternative with the sisters (Olivia Hogan, Angelique Malcolm, and Ian Bolgia). Sadly I watched the same stereotypical slow moving, hand waving, covered face hags. It was a disappointment.
The play as a whole lacked the dramatic flair that can create a brilliant Macbeth,
although I still found myself drawn in and absorbed in the performance.
Whilst it was easy to understand and the cast brought to life the
written word it lacked the performance side. This is one for the
scholars out there, not for those who want a show.
Class Act & Bare Naked Theatre Companies Macbeth by William Shakespeare
Venue:
Subiaco Arts Centre, 180 Hamersley Rd, Subiaco Dates: June 24 to 28 (8pm and three matinee performances) Tickets: Standard: $32.00 Concession: $27.00/$20.00 (groups & other discounts available) Bookings: BOCS (08) 9484 1133 or www.bocsticketing.com.au
Olivia Hogan vomited offstage 3 times on the night Anna Locke reviewed, which perhaps explains the interpretation of her performance as 'bland'. Cast of 7 not 6. Yes the swords are real (if blunt) and heavy. Glad you enjoyed the spectacle of the closing fight - lots of work went into it telling a story of shifting desperation and control. If you were 'drawn in and absorbed' I'd suggest we have succeeded with our intent, to strip away any spectacular overblown 'performance' hijinks and focus on the dramatic relationships. No its not Ian mcKellen, but given I have been in 4 productions of Macbeth, this production to my mind is the most successful in articulating the principal character journeys of M, lady M, Macduff and Banquo. The witches are 'so withered and so wild in their attire' as Shakespeare intended.
10am Thurs 3 July: Don Russell Performing Arts Centre 9493 4577 Murdoch Road, Thornlie opposite Forest Lakes Shopping Centre, near the Nicholson road exit off Roe H'way.
8pm Fri 4 July: Kwinana Community Arts Centre, Sulphur Rd, Kwinana TICKETS THROUGH BOCS: (08) 9484 1133 or www.bocsticketing.com.au
