M. The Scottish Play

Director Peita Collard chose to frame her production of M. The Scottish Play in a Japanese J-Horror style due to her extensive experience with and love of all things Japanese. Initially a surprising choice, it swiftly became clear that this was a very logical and entertaining lens through which to view this classic text.

The set was comprised of a number of large bamboo-painted panels on wheels that allowed them to be moved to obscure or reveal actions and to change of locations.

The three witches (Lauren Smith, Emma Bournes, and Rebecca Vuong), greeted us with skeletal make up reminiscent of the young yūrei girl from the 1998 J-Horror film Ring. Wondering when they were going to meet again, they writhed, moaned, and sighed as one disturbingly joyous and erotic being. Collard’s choice to base the witches’ actions in the stylized Butoh and Kabuki dance styles was an excellent decision. I would highlight particular performances but the programme didn’t include headshots so I will have to settle with saying that all three captured the crazed crones effectively and disturbingly well.

Justine Kelly’s costuming was simple yet striking with each family recognized by a different colour, which was extremely helpful considering some actors were playing multiple roles. Using traditional samurai swords and staffs as weapons, the cast convincingly realized Stuart Clifford’s choreographed fight scenes, which were some of the best I’ve seen.

A special mention must go to Colin Craig whose realization of the drunken Porter during the comic relief sequence was strikingly perceptive for his seemingly young age.

Most of all I enjoyed the contemporary and distinctive treatment of the well-known text. Particularly special was Jason Cavanagh’s (Macbeth - pictured) throwaway “Thanks for that,” as well as H. Clare Callow’s (Hecate) and Collard’s rhythmic interpretation of “Double, double toil and trouble.” Jack Wille’s makeup must be mentioned again as Hecate’s mask was fearsome throughout, including during the bows!

Finally, the lighting designer (who is not credited in the program, only Bea Valenzuala as operator) is to be congratulated for a simple yet highly effective design. The off-stage murder of McDuff’s family was given added impact with shadow-puppetry techniques including a red gel that was used to symbolize the blood flowing from the victims’ wounds.

Ian Nisbet