Review: Macbeth, Alma Tavern Theatre

The James Company’s Macbeth is a fast-paced, hour-long adaptation that places its focus squarely on the inner psychological turmoil of the play’s protagonist.

Perhaps this adaptation’s defining feature is its minimalist approach. Macbeth (Russell Rosewood) and Lady Macbeth (Melina Valentin) are the only two characters given an onstage presence, while Macduff, Duncan and the Weird Sisters are all portrayed via voice-overs, broadcast from speakers placed behind the audience.

This diverts attention away from the actual narrative drama of the play – Duncan’s murder and the eventual exposure of Macbeth’s guilt – and creates the illusion that the events are in some way fabricated by Macbeth himself, highlighting the protagonist’s mental instability.

This intuitive use of sound is perhaps where the play is at its strongest. Cinematic sound design is used to punctuate several well-executed, nightmarish sequences reminiscent of David Lynch’s surreal dream sequences from Twin Peaks. These sections often portray Macbeth alone, writhing in bed and delivering soliloquies, and are by far the most effective portrayals of his growing insanity.

Because of the play’s highly abridged running time, however, this descent into madness is the only aspect of the play which has time to be explored. Even then, there is insufficient time to delve fully into the gradual descent into insanity which defines Shakespeare’s original work. A 60-minute running time simply doesn’t offer enough time to adequately portray the gravity and tragedy of Macbeth’s downfall.

Not only that, but to accommodate the shorter running time, many integral plot points are skimmed over or excluded altogether. This results in a somewhat hurried and confused narrative arc which will leave even the most knowledgeable Shakespeare buff struggling to keep up at points.

This is particularly apparent in the scenes immediately following Duncan’s murder. Very little attention is given to Lady Macbeth’s framing of the guards – or to the role of Duncan’s heir-apparent, Malcolm (in Shakespeare’s script, Malcolm flees the country following the murder – leaving himself open to suspicion, which is only encouraged by Lady Macbeth).

These plot-points are integral to establishing Lady Macbeth’s conniving, Machiavellian character: without them, the audience may find it difficult to grasp that it is not Macbeth, but his wife, who’s really pulling the strings.

A Shakespeare tragedy should offer the audience a sense of catharsis: they should be given time to meditate on the loss of life and the downfall of the play’s protagonist, so that by the time the final curtain falls, they feel as though they’ve embarked upon an emotional journey.

Unfortunately, and although well-acted, The James Company’s Macbeth is simply too hurried to offer this kind of response. All the viewer can do is hold on for the ride and try not to get left behind.

Macbeth continues at the Alma Tavern Theatre until Sat, Nov 18. For more info and to book tickets, visit www.almatavernandtheatre.co.uk/theatre/what-s-on

Read more: Theatre and Comedy Picks: Nov 13-19, 2017