Arriving at Somerville College in its full summer pomp, Stanley Toyne and Cameron Spruce, the codirectors of Cross Keys Productions’ Macbeth, walked over with me to the college chapel as we discussed the ephemeral bother of collections and the issues of trying to work amidst glorious sunshine.
Once sat in the space, with the fitting set-up of three grand thrones in the middle of the chapel’s walkway, it was easy to understand why the two have decided to stage their modern, mafia-set take on Macbeth here. There is an otherworldly feel to the chapel, a non-denominational space, shorn of ornate religious trappings yet clearly somewhere to be treated with reverence. Everyone knows the basic story beats of Macbeth – duty, pride, betrayal, downfall – but the use of a chapel was key in protecting the core of the story in a new modern setting.
Discussing the setting, Stan highlighted that, as with the mafia context, the use of the chapel was a deliberate choice, and had in fact been the cause of some difficulties in securing a location for the production, with several chapels either being too expensive or unwilling to host a mafia-themed production. He highlighted the similarities in power relations between the feudal system of medieval Scotland, where the original play occurred, and the mafia – a veneration of violence, an emphasis on family and religiosity – that allowed the play to transpose well. Chiming in, Cameron highlighted that the transverse staging of the chapel with nave, transepts, and chancel offered not just a fluid feel to the play, but an interactive feeling, placing the audience in and among the drama.
The mafioso setting of the play raised questions – how would some of the main characters, particularly Lady Macbeth and her husband, Malcolm, Duncan, and the witches, translate into this 20th-century setting? They both talked at length about how Malcolm, rather than merely being the hapless heir to the amiable Duncan, was to be portrayed as an actor in his own right, capable and willing to manipulate those around him in advancement of his own goals, particularly the vulnerable MacDuff, when news of his family’s murder reaches him. The three witches each aspire to capture an element of mob life and also allude to the Greek mythology of the Fates. Each represents something Macbeth lacks and wants at certain points in the play: authority, love, and excess, capturing the cycle of Macbeth’s character without denying him the agency of his choices. In this production, Macbeth is not solely the unwilling tool of fate – though elements of the fantastical do endure in this plot – but rather an independent agent, influenced not just by his surroundings but also by himself, and so too is Lady Macbeth.
Of note should be the ease with which the two directors bounced off each other, and how the arrival of two cast members, playing Lady Macbeth and Macbeth, did not prompt any great change of character or slip into a new persona. Instead, they genially integrated their cast into the interview, allowing me to enquire about how they found the role, the directorial approach, and their approach to the characters. Working within the setting dictated by the directors, both felt a range to explore the emotional depth of the characters, particularly with Macbeth stylised as more of a bruiser in this play, substituting swords and rapiers for pistols and knives, and Lady Macbeth made to be more than the particularly reductive versions produced in certain modern adaptations, like the Patrick Stewart-led modern take on Macbeth. They both lean into the stereotypical mob depictions of their roles, but Lady Macbeth uses it far more knowingly as a public facade, with her ability to occupy a sweeping veranda of opinion towards her emotionally complex, yet explosive, husband a core part of this rendition’s characterisation.
Both Cameron and Stanley have acted in OUDS productions before, with Cameron giving an excellent turn as Wriothesley in last year’s production of Wolf Hall at Christchurch. They spoke candidly of how their experience on the other side of the dynamic influenced their open, approachable attitude towards the actors, and how an unexpected delay over the spring vac allowed the actors to further develop their characterisations. The play’s newly composed organ score, courtesy of Peter Hardistry, functions as what Cameron described as “motivic glue”, highlighting the changing power relations and positions of the character as the play moves towards its ultimate conclusion. The production effortlessly combines the old with the new to produce what promises to be a thrilling rendition of the Scottish Play.
