Macbeth (Out of Joint)
NOTE: This review dates from September 2004 and this production’s first London run at the Arcola Theatre. For current venue information, visit performance listings.
Out of Joint’s latest Macbeth has been moved to an unnamed African state in turmoil. The setting works exceptionally well stirring echoes of Idi Amin, Liberia, Sudan, Mugabe and those dreadful pictures of child soldiers carrying AK-47s, it is un-nerving how well the story carries over to these violent, ego-driven, crazed times.
The performance is a promenade one, at Oxford this meant starting in the workshops around the back and then the back of the stage area and a sectioned off area at the front of the stage. The bareness of the sets, and being ushered around by angry, gun-totting guards draws the audience into the show, we sit in random chairs around the room as if guests and are invited to observe and witness events both on stage and in the ‘private rooms’ of the stronghold. Promenade does not always work and seriously curtails audience size but here it is integral to a production that would be considerably less powerful played on a traditional stage.
Danny Sapani‘s Macbeth is a powerful, credible and highly watchable one. He manages the sweeps of emotion between murderous anger, abject fear and vulnerability with immense confidence. He is helped by the fact that this is one modern adaptation where the magic and ghosts work particularly well given the cultural approach to ‘voodoo’ of many African peoples.
The remainder of the cast are versatile, strong and also, in the case of Christopher Ryman‘s Seyton, very funny. In fact one of Seyton’s filler speeches is the only place where significant updating has been allowed and it works perfectly. For me, one small point, Monica Dolan‘s Lady Macbeth should seek to avoid adopting the stance and speech patterns of Mrs Overall, it detracts from her otherwise excellent performance.
A couple of hints for the audience. First, whilst not essential I’d advise you to read the programme, there are some good bits of background there which will inform or remind you of significant aspects of the setting. Second, for the first 20 minutes or so you will be standing and it is a 140 minutes show without an interval so get comfortable!
Max Stafford-Clark is to be congratulated on this production. This is not an updated Shakespeare for the sake of doing an update but a show that genuinely throws new light on both the script and the setting.
There were two standing ovations at the end, one from the audience and one from the hairs on the back of my neck. This is a very fine Macbeth indeed, see it if you can but remember that tickets may well be limited.
– Robert Iles (reviewed at the Playhouse, Oxford)
