While the Genesian’s usual fare of charming period plays frequent death, commonly by a fit of the vapours, Macbeth is another intoxicating beast entirely: bubbling cauldrons, prophecy, murder, insanity, and revenge.
A feast for the audience, it marks a greater challenge for production and actors alike. While this production, directed by John Grinston, got a lot right, it did not fully rise to the immense demands placed upon it by the material.
The advantage of Macbeth is that, at one point or another, almost every theatregoer will have come across this work, being a long stalwart of the English curriculum. Indeed, most will have previously seen Macbeth as well. For those who for some reason or another have never come across it, Macbeth is a Shakespearean tragedy set in Scotland, centred on the dangers of unbridled ambition and the inevitable physical and psychological consequences that self-serving acts do to oneself. Returning after winning victory on the battlefield, the titular character, Macbeth (Jack Taylor) and his best friend Banquo (Dimitri Armatas) stumble upon three witches (Jasna Mars, Poppy Cozens, Julia Burns) who prophesise greatness for Macbeth, that he shall become the Thane of Cawdor and thereafter the king. Macbeth is astonished to find that, per the prophecy, he has indeed been made Thane of Cawdor upon his return. Keen to bring the prophecy to full fruition, Macbeth, assisted by Lady Macbeth (Yvette Gillies), works to murder the King (David Stewart-Hunter) and his recently named successor Malcolm (Arnold Walsh). While Macbeth fulfills the prophecy, he and Lady Macbeth encounter profound consequences in their unjust acts.
The infamous superstitions surrounding putting on a production of Macbeth are understandable; it is a demanding work, and things can go very wrong. Thankfully there were no marked tragedies other than the one Shakespeare intentionally wrote. While the calibre of the production was impressive, it was hard to escape the impression that while the director fully grasped the material, some actors were not entirely there yet. Crucial words that needed emphasis were often missed, placing a heavier burden on the audience comprehending the work. A struggle to adequately embody the material is understandable; Shakespeare is less accessible than most repertoires. This may well change with the play’s run, but as of opening night some actors are not there yet. Moreover, Shakespeare is different from other works in demanding a level of elocution that frequently conflicts with our charming Australian drawl; this similarly places barriers to an audience’s comprehension of the play.
When all is said and done however, all actors were able to muster powerful moments during the play, with some particular performances worth highlighting. Yvette Gillies skilfully grasping the messy complexity of Lady Macbeth with both hands was utterly spellbinding; her native Scottish accent was the cherry on top. Similarly, John Benjamin so wonderfully embodied a delicate surrendered knowingness in his role as Old Man; it was subtle and beautiful to watch. Moreover, Jasna Mars brought a captivating and immense dark feminine physicality and movement in her role as a witch; you could really feel the gravity that such a performance brought to the role.
The costumes were, as always, beautifully executed by Susan Carveth with assistance from Gregory George. Similarly, the minimal set design was well executed with fantastic interplay between the clouds and lighting designed by Cian Byrne providing much that needed heaviness to play.
I admire the ambition that was brought to this production of Macbeth, which is more challenging than the delightful E.M. Forster or Agatha Christie based fare the Genesian is well known for. While this production may not hit all the marks, broadly it still sticks the landing, and I would gladly recommend it to others.
