Macbeth

With a theatrical scene that has, in the past, been flooded with adaptations of the classical cannon, why should we pay attention to another theatre company trying to make sense of another dead white man’s words? But to Director Emma Sproule, adapting Macbeth is exactly the point. With a cast of 19 powerful women (with two highly talented young girls – Leikny Middelton and Harriet Byron) and only three males, this interpretation aptly exploresthe challenges women still face in attaining and, thusly, sustaining positions of authority today.

There are two clear standout performers in this version of Macbeth.

The first is Ellen Kiley. In the role of the Porter, which is normally a page at most, she is portrayed as the Every Woman; seeing, hearing and involved with everything that happens to the Macbeths. Kiley’s role is the combination of a few minor characters in order to make her significant and integral to the adaptation. She is petite in body, but solid in her talent.

Second is Roisin O’Neill. Cast as Macduff, she carries out the role with stature and presence in every moment on stage. I cannot fault her performance in any way, from the touching moments with her wife and daughter, down to the brutal concluding fight. O’Neill packs a punch.

I have to make special mention of ‘The Movement’. Emma Sproule is known for embellishing poignant moments in her adaptations, utilising stylised movement and dance. Not to this extent have I seen eight women on stage for 90% of the show, in unison (mostly) and accenting each key moment. Sometimes they become minor characters within the story; their strikingly red capes converting their costume in each specific scene.

The witches, not “black and midnight hags”, but strong professional women, are expertly lead by Sarah Chapman.

Interestingly, Sproule has decided to make much more of a friendship with Lady Macbeth and Lady Macduff. This highlighted the callous and cruel nature of Lady Macbeth later in the plot, making her downfall seem somehow humbling.  Angie Tonkin moves though these tricky stages of characterisation with ease and is commanding to watch.

Another such friendship further established is between Ross and Lennox. Imogen Kalisch and Lucinda McIntyre juxtapose each other charmingly, the flighty and the rock, again accenting the particularly brutal death of Ross in a completely raw emotional way.

For a production that celebrates the strength (and doesn’t shy away from the weaknesses) of women, Sproule has chosen three talented men to offset the predominately female cast. Despite his young look, Jett Thomas, as Macbeth, emanates a strength in Act 2 that you just didn’t expect.

Edan Goodall is particularly charismatic as Malcolm.

The ingenious staging choice for this production encompasses a crossroads, where the actors traverse though the audience. The audience, placed right in the hub of the action, becomes a direct part of the decisions and subsequent challenges of the characters.

There are a few minor issues with projection; the space is large and some actors really needed to pick up the volume.  

This is a pertinent adaptation of Macbeth, bold and brash. The show does not hide behind the banners, but thrusts them in our face, demanding we listen to the truths behind the curtain. Sproule is a director that challenges her audience and dares them to respond.

For relevant, poignant, and affecting theatre, Dionysus Theatre is a MUST see company.

Penelope Thomas