Wayward Theatre’s production of Macbeth promises to be a unique and original retelling of the classic Shakespeare tale.
Director Ellen Davnall explained her intentions in setting the story in a soon-to-be contemporary environment of a suffocating, embryonic police state to translate the worries and fears of the supernatural held by the Shakespearian audience to the modern world.
The production will make effective atmospheric use of the performance space, with set design by Nele Dieckmann and lighting by Mike Bedington accentuating the O’Reilly’s feel as a lecture hall rather than a dramatic theatre, and emphasising the fluidity of the scenes.
The intimate setting may or may not prove to be a success: if every actor manages a performance as nuanced and intelligent as Jonnie McAloon’s Ross, the production’s sparse design will speak for itself, making Macbeth an exhilarating experience.
However, the interpretation could be let down by one or two scenes lacking in understanding and commitment to the Shakespearian text. Jack Blackburn’s powerful yet physically inhibited portrayal of Malcolm would do well to lend some of its sensitivity to Rory Fazan and Rafaella Marcus’ scenes as Macbeth and his Lady.
Although both performances could at times be gripping and emotive, there was a tendency to rely on violent shouts and deranged whispers to bluntly convey their characters’ emotional complexities. Audience reaction in such an exposed setting should also contribute to the actors’ individual performances, which may yet come to life in Third Week.
It will be interesting to see the director’s interpretation of the three witches as political dissidents, and on the whole, Macbeth has the appeal of a fresh, challenging and socially resonant production.
Three stars
Macbeth is on at the O’Reilly Theatre, 2-6 February at 7.30pm
