Right from the moment the three witches step on stage to open the evening’s entertainment, it is clear there is something a bit different about Studio Theatre Club’s production of Shakespeare’s Macbeth. This is not due to one tangible element, but an overarching ambience refreshingly devoid of all the common melodrama and gore we associate with The Scottish Play. This lent the whole performance an entirely a-typical aura, allowing the audience to really focus on intricacies of character which can so often slip by unnoticed. The director states that this was his aim, choosing to focus on the “Macbeths’ plot arc and how they are both differently affected (spoilers!) by that first violent act of murder” which I can truthfully declare a resounding success!
I don’t feel the need to offer up a synopsis when one has already been so exquisitely (and amusingly) crafted by the inimitable Mitch Benn, and can be enjoyed for free here: Macbeth (My Name Is) - Mitch Benn & The Distractions (warning: this contains some colourful language!)
The set in Studio Theatre Club’s Macbeth is minimalist, comprising just a few chairs which are moved and used on occasion. This was a smart directorial decision as there are no complex scene changes, thus allowing the uninterrupted flow of action throughout. The audience is left in no doubt of the play’s nation of origin as in contrast to the stark set, the performers are adorned in sumptuous khaki World War II era Scottish military regalia, complete with differing familial tartan kilts, Glengarry hats and sporrans. The three Weird Sisters are dangerously vivid in their bright red Royal Regiment of Scotland coats, tarnished by dirty white dresses, their faces cracked and distorted by crazed mosaics. They first appear under low light on the balcony, carrying eerie glowing green orbs. These are later echoed in Lady Macbeth’s vibrant emerald green dress worn during the coronation, highlighting the impact of the Witches’ prophecies, and resulting forays into the darkest recesses of her own mind. The complexity of her character is sharply reflected by her later appearance in a shining white satin nightgown, making the supposed one-dimensional monster appear innocently angelic while inadvertently revealing her self-inflicted mental torment.
Sound is unobtrusive outside of the paranormal realm, with the natural disharmony of turbulent Scottish storms gradually being replaced by fabricated tempests of war and Macbeth’s concurrent loss of sanity. There are snippets of music, bagpipes, and moments from appropriate film scores, but these are always subtly layered with the dialogue, so as not to detract from the action.
The ensemble cast is large and engaging, with all members supporting each other to present the story in a clear and digestible manner. Stand out performances are offered by Francesca Richards and Charlie Vicary as the Macbeths. Francesca is nuanced, subtle and utterly arresting throughout, while Charlie captivates the audience with his sharp internal monologues and contradicting interactions with others. The Macbeths’ relationship is wrought in a feverish toxic passion, descending into icy dissociation which is almost painful to witness.
The three witches; Fiona Miller, Harriet Townrow and Lindsay Rolland are maliciously deceitful. They function as sections of a supernatural sinister whole, throwing their voices to the air and gliding about the stage.
Ben Winters displays diversity as Banquo and the Doctor tending to Lady Macbeth. Banquo is a noble antithesis to Macbeth which Ben takes in his stride.
The dynamic role of Macduff is taken on by Jon Shepherd, whose strength in delivery is magnetic. The loss of his wife (delicately played by Anna Wilson), and children is particularly viscerally affected.
Stephen Briggs as King Duncan appears kindly and trusting, while the children he leaves behind (Malcolm - Rory Morrison and Donalbain - Sreya Rao) are both authentic in their fear and subsequent reinstatement in Scottish hierarchy.
Supporting characters were all perceptibly unique, adding variety and intrigue to the show. A humorous interlude is offered by Mike MacDonald as the Porter; physically staggering around the stage with one sock sagging, interacting with the audience in response to knocks at the door. The attendant to Lady Macbeth is tenderly enacted by Kat Steiner. A quartet of Thanes and Siward, the Earl of Northumberland, are distinctly presented by Jack Brougham, Matt Kirk, Peter Hubbard, Mark Urso-Cale, and Neil Fisher. Peter Hubbard is also memorable in his role as a murderer, well abetted in the task by John Kirchhoff and Tom Fenton.
Studio Theatre Club’s production of Macbeth feels particularly timely for a number of reasons, it is an unmissable banquet for any student currently studying the play, showcasing complex depth and relatability in characters often rendered as little more than one-dimensional narrative devices. I was also unexpectedly floored by the following quotation, its relevance to today and the proof of Shakespeare’s timeless genius. Words penned more than four hundred years ago, detailing supposed events of six hundred years previously still strike home:
“I think our country sinks beneath the yoke.
It weeps, it bleeds, and each new day a gash
Is added to her wounds” – Macbeth – Act IV scene III
The more things change, the more they stay the same. Thankfully, we have Studio Theatre Club to provide perfectly rendered parcels of artistic sustenance and brighten even the soggiest of autumn evenings with their supernatural orbs of purest green.
Unfortunately for those who haven’t previously heard about this exceptional, faithful production: STC’s Macbeth is almost sold out, but there are tickets available for Saturday night (when the cast are sure to be absolutely flying!) so make haste, for “tomorrow, and tomorrow and tomorrow” they will be gone!