Writer: William Shakespeare
Director: Hannah Ellis Ryan and Amy Gavin
HER Productions’ Macbeth reaches high peaks of gut-wrenching tension, which Shakespeare’s most conniving play is known for. Its daring direction choices can pack a punch, but big swings sometimes miss their mark.
One of Shakespeare’s most recognisable tragedies, Macbeth follows the story of its title character, a well-decorated general who grapples with power, authority, and status being at his fingertips after a coven of witches predicts he will become king.
The staging of this production was performed in the round at a black box theatre. The audience sits at all angles, and what they’re greeted with amid the darkness of the opening of the show is a single tin bathtub. This bathtub and a large drum were the only set features used in the play. Making the atmosphere the actresses created, by only using their bodies and voices, all the more impressive.
A central feature of the show is its all-female cast, all of whom give incredibly talented performances. Elaine McNicol as Macbeth comes into her element after becoming King; her cool facade, which hides a strengthening killer instinct, is chilling to watch. Frankie Lipman as Lady Macbeth was magnetic as she performed an impeccable sleepwalking scene. The chemistry between these partners in crime is tangible and passionate.
The effect of an all-female cast on this production was unclear. The cast is very effective at making you forget there were no men in the play. But is the point of an all-female production to make you forget you’re attending one?
Emphasising the femininity in these male characters seemed to slip by the wayside. Macbeth and Macduff were played in a very macho manner, with their easy-to-trigger shouting, which took scenes from 0 to 100 in an instant.
Though this raised the stakes, it seemed they were too trigger-happy at inappropriate times. Lady Macbeth and Macbeth scream at each other after killing King Duncan in the night, coming to terms with the horrific crime they just committed, but unless they have 10” thick concrete walls or a miles long estate, their house guests wouldn’t need to wait till morning to discover the king was dead.
The witches had a major presence in this production; they hardly left the stage, hiding in multi-role characters, driving the action, or watching the actors from the sidelines like predator and prey. Ensemble scenes of the witches and their ethereal movement are highlights in the play’s staging. These scenes are often the most layered and magnetic to watch as they move with a creeping slowness which raises the hairs on the back of your neck.
Though the presence of the witches was a spectacle to watch, the play took a heavy-handed approach to the witches controlling Macbeth’s every move, spoon-feeding the audience on how to interpret the play. What if Macbeth chose to be a cold-hearted killer? The overextension of the witches leaves no room for this question, since it is made very clear to the audience that Macbeth is simply a puppet of the witches.
What can seem to break the magic for some productions by seeing the same performers playing several roles, Macbeth did effortlessly. Miranda Parker as the Porter and Hecate was a hilarious comedy relief role followed by an enchantingly domineering interpretation of the mother of witches; Lucy Enderby as Malcolm and Macduff’s son was mesmerising with how she could distinctly portray two characters of very different ages and ranks; and Catherine Traveller as Ross had easy stage presence and excellent line delivery which dripped expression with each word.
The tension created by this play is palpable. The scene of Banquo’s ghost is a marvel to behold and is the best example of a big swing which packs a punch. Unlike most productions, Banquo is not sitting at the table lifelessly gazing back at Macbeth. This production sees Macbeth hallucinate the grotesque image of his dinner guests eating Banquo’s body as it lies on the table. The guests tear into his body with their bare hands, creating a shocking, deeply unnerving yet gripping scene. You’ll be unable to look away.
The tempo of the battle drum, which is played in the centre of the stage during the second act, is an essential part of the tension in the final scenes of the play. The pace of the end of the production is kept impressively quick, making action sequences sharp and swift.
HER Productions’ Macbeth is most successful at creating a thrilling and engaging atmosphere of tension; however, its minor hitches eventually catch up with it, giving this show a cluttered or over-attention-to-detail feel.
Runs until 29 June 2025
The Reviews Hub Score
Engrossing but untidy
