Macbeth

In his reimagining of Macbeth, director Chris Hamley was inspired by elements of Japanese culture. He chose to feature live Taiko drummers, samurai-like warriors, ninja-like murderers, a geisha-like Lady Macbeth and five witches, creating a creepy and action packed Macbeth. These commanding and decisive new elements, especially the initial impact of the Taiko drumming, set the tone of menace and danger. Drum interludes, scene and act changes were riveting to watch and hear. Taiko Drum co-ordinator Belinda Graudins extracted mood, pace and urgency from three drummers on the mezzanine level of a two level set.

Design by Chris Hamley (set/lighting/sound) worked well – the action played out below the drummer level, with arched entrances and exits, suggesting doorways, column and pillars. With a dark theme relieved by red lighting on the cascading tassels at entrances, and use of lights and smoke effects, Hamley created a constant feeling of danger and foreboding. The most recognised speeches – “Is this a dagger...”: “Out damned spot...”; “Double, double toil and trouble, fire burn and cauldron bubble...”– well done, although there was difficulty hearing some dialogue.

Karen Kluss (Lady Macbeth) had beautiful enunciation and projection, and a wonderful range of feeling. Her Lady Macbeth was excellent, particularly in the scene where she exhorts Macbeth to ‘man-up’. Jon Lenthall (Macbeth) was believable as the warrior king, playing with intensity and commitment. The five witches proved to be an excellent directorial choice, returning and continuing to terrorise, acting as ghouls, menaces and conscience to the guilty unravelling of Macbeth and Lady Macbeth.  

What didn’t work so well – the use of actors in multiple roles, particularly of Taylor Lidstone (Ross/Seyton/ porter and murderer). Not to take anything away from his performance, but he was recognisably the same in three of those parts – it caused some audience confusion. Tai Gardner (Duncan/McDuff) was convincing as Duncan but not so easy to understand as McDuff (although the fight scene with Macbeth was well executed.) Similarly, Sophie Hope, while beautifully portraying Banquo’s ghost, wasn’t as convincing as the warrior Banquo, but that just may have been the difficulty of accepting a female Banquo. 

This was a moody, and at times quite marvellous, re-interpretation of Macbeth, although may not be what purists want. A good night at the theatre though!

Merlene Abbott