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  1. About The Author: Belmont English
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Rsc live: macbeth movie online full. RSC Live: Macbeth movies online. RSC Live: Macbeth Movie online pharmacy. THANK YOU VERY MUCH. MY ENGLISH TEACHER WILL BE SURPRISED ON MY LITERARY ESSAY. Macbeth Royal Shakespeare Theatre Stratford-upon-Avon 4 th June 2011 Madeline Appiah – Lady In Waiting Jamie Beamish – Seyton; Porter Howard Charles – Malcolm Scott Handy –Ross Aidan Kelly – Macduff Caroline Martin – Lady Macduff Des Mcaleer – Duncan David Mcgranaghan – Edward The Confessor’s Doctor Aislín Mcguckin – Lady Macbeth Nikesh Patel – Donalbain Daniel Percival – Lennox Daniel Rose – Angus Jonathan Slinger – Macbeth Steve Toussaint – Banquo Christopher Wright – Doctor Director –Michael Boyd Designer –Tom Piper Music – Craig Armstrong CONTAINS PLOT SPOILERS, or rather production spoilers, so if you have tickets but haven’t been yet, stop here and read it afterwards. The surprises are strong, and best as surprises. If you haven’t got a ticket, you’ll be lucky to find one. Watching any version of Macbeth conjures up the ghost of Macbeths past. There’s Sean Bean’s Hollywood populist Macbeth, with a big castle set, lots of clanking armour and erotic witches. There’s the Mafia Macbeth. There’s Polanski’s film. Orson Welles’ film. There’s the Japanese film Throne of Blood. Most recently for me, Patrick Stewart’s Stalinist Macbeth. The two that stick most in my memory are Bean and Stewart. Bean’s sturdy, robust Macbeth as Braveheart was directed by Edwrd Hall in 2002, and I saw the first week in Milton Keynes, when he carried the aura of Lord of The Rings and garnered collective sighs from the girls’ school parties at every move. That was a rugged, medieval Macbeth with a Yorkshire accent, Ee bah gum, is that a dagger I see before me. With its big fight scenes, lots of eroticism from the witches and Lady Macbeth, it went down enormously well. Rupert Goold’s 2007 Chichester production starred Patrick Stewart, who was seen humbly queueing with his tray in the theatre buffet with the punters before the show. That went to Broadway, then to film.  That was set in a 1950s Stalinist state. Stewart was the best Macbeth I’ve seen. The RSC chose Macbeth as one of the first productions in the rebuilt Royal Shakespeare Theatre, directed by Michael Boyd with Jonathan Slinger as Macbeth. You know before you get there this going to be good, and you know it’s going to pull out all the production stops. The RSC programmes notes are the best you’ll find in any theatre, and it’s essential to sit down and read them before the plays. This one had a fascinating article on the reformation, and on how from the 1530s to the Jacobeans, the destruction of religious paintings and iconography were a major ongoing feature of British life. Wall paintings were literally “de-faced”.  In 1530, nearly every parish church in England had a life-sized realistic crucified Christ in wood, much as you can still find in Spain and Austria. Not one has survived. Shakespeare’s father was involved in municipal edicts on church decoration and regalia (and according to some scholars, a case can be made that he was a closet “old Catholic. ”) I wondered what this had to do with Macbeth. Opening set design Then you walk in. On set design (by Tom Piper), this Macbeth is the best of the lot. The set in the first half is a defaced church, with broken windows and paintings of saints with the faces scrubbed off. One religious statue remains in its niche. The other has been smashed out, leaving a jagged hole right through the wall. Before the play starts, the whole stage and set is lit with realistic daylight, so much so that we felt we’d walked outside when we walked into the theatre. Phew. You would expect a big idea. You get it. The big idea in this is that the three weird sisters are three children, two boys and a girl. One of the most dramatic moments I’ve ever seen is their arrival, swinging from the air on meat hooks, as if on gibbets. It’s also just behind the expected scripted point, creating tension.  So brilliantly are the child actors performing this that I thought they were puppets until one suddenly jerked to cue. The children get over the normal panto children projection problem by having concealed microphones and speaking with amplified echo. The big idea reveals itself to be bigger than you think. The three children appear again, in the same clothes, but now cleaner, as Lady MacDuff’s children, so that in retrospect, they are a projection back from the future (in sci-fi terms! ) when Macbeth first encounters them. Some people had a problem with the logic of it all, but anyone who’s seen Back To The Future or a dozen movies with the same device has no problem with it. The other part of the big idea is that the ghosts stay on. By the end, the ghosts of Lady MacDuff and her children are present in the background following the action. It’s the most powerful image in the play. The murder of Lady MacDuff and her children is truly horrible. They kill the boys, then a murderer leads the little girl away at knifepoint … ice travels up your spine. You know what happens to female children in war. The wife and children, with the murdered Banquo, become a permanent accusation. They’re the collateral damage in war. This is what makes this production so truly grim, and so truly 2011. Note how the programme illustration (above) superimposes a sad child’s face on Macbeth. The ghosts being present solves the classic open stage Shakespeare problem. When characters are killed, the porter, dressed in red, opens the door at back centre, and the dead rise to their feet and solemnly walk through it. It’s a change from having all the deaths at the back, near the door so as to scramble off during the blackout. The ‘banquet with Banquo’ scene straddles the interval, and utilises the device in Rupert Goold’s production. At the end of the first half,  we see Macbeth’s view with the ghost of  Banquo appearing before lights down, then after the interval we rewind two minutes and see it again from the guests point of view with no Banquo. Such a device would have perplexed audiences before the days of video recorders. The difference here, is that the guests are well away from Macbeth, standing, not part of a banquet really, and that Banquo slaughters Macbeth with buckets of blood before the interval. On the way out (to stand up away from the cramped RSC seating for 20 minutes), a father was explaining to his son that Macbeth was NOT actually dead, and that there would be a second half. The style is strong. I’d call it actor-manager 19 th century, in that the soliloquys are solo spots, centre stage, declaimed with eye contact to all three levels of the huge theatrical space. This is not just Macbeth either. Every major speech is given physical space, so that the listeners are often placed at the extreme four corners of the stage, geometrically. It’s a major contrast to most modern productions, where the reactive acting by the rest of the cast is a major addition to the text; see especially Cardenio the same week. On balance, it’s  a style (Henry Irving? )  that doesn’t resonate for me. Macbeth and Lady Macbeth Slinger is a cruel, nasty Macbeth. I can never get away from the text; Macbeth is a succesfully brutal soldier who’s just waded in gore before the play starts. That’s why you expect a big brute of a guy. Slinger is smaller, slighter than you’d expect, though he compensates with nastiness. One issue is that he’s nasty from the outset. You can’t believe that this guy would suffer pangs of guilt. After seeing two Macbeths where the early scenes with Lady Macbeth are charged with erotocism and taken in bed while writhing around too, this is a very low key Lady Macbeth from Aislin McGukin. She looks a suitably Celtic beauty, but the theme, the big idea of this production, the one you leave with, is women and children as collateral damage. Putting Lady Macbeth’s sexual powers at dominating her husband, and driving him to evil, to the fore would undermine this totally. The Macbeth / Lady Macbeth interaction, the centre of most productions, is sidelined here. Macbeth, Lady Macbeth Costumes are an issue. No one has done Macbeth in kilts and sporrans with claymores and Och, aye, the noo for years. The costumes are early 17 th century boots, trousers and leather jerkins, Thirty Years War chic. Royalty get dressed in long white and gold robes, apparently from an earlier era. Duncan appears in white and gold and the Macbeths do once they’re enthroned. Costume leads to a further point. The ethnicity of actors. We’re used to seeing a variety of ethnicity in Shakespeare. It’s usually colour blind (as it was in Cardenio, and The City Madam in RSCs 2011 season) in the sense that it’s irrelevant, which is what it should be. Some productions are TOO colour blind. I found a black Hamlet with a white Old Hamlet, Claudius and Gertrude disconcerting a few years ago. We are programmed with awareness of genetic inheritance (Ooh! She’s got her grandma’s hands! ). If you accept that, then you’re aware that (say) having a black Hamlet, white Old Hamlet and Claudius but a black Polonius would automatically add a new level of speculation and incest that’s not supposed to be there. We’re not THAT colour blind. This production has a black dreadlocked Banquo, and his son, Fleance, is black too. So some thought has gone in. The lady-in-waiting, played By Madeleine Appiah does it with an African accent. Malcolm is played by Howard Charles, and Donalblain by Nikesh Patel. Howard Charles doesn’t look of especially Arab background in the programme, but in his big Malcolm speech, with his hair and beard very neatly trimmed, and a plain spotless white robe and shoes, he looked every inch the handsome Arab prince. The sort of guy with perfect English who the Saudis send to speak on government policy. This had to be deliberate reference to the Arab Spring, and indeed that change (as Malcolm says) might not be better. Malcom’s speech about how he might behave as king was done in full, and as a big soliloquy. The big, well, only, comedy, scene in Macbeth is the porter scene, utilising comedy to separate the high tragedy of the murder. I truly believe that Shakespeare would use any device he could to get the audience going. But … the porter scene for me didn’t work. The cast list here is strange. Jamie Beamish is listed as ‘Seyton’ (Macbeth’s lieutenant), not as “The porter”, and later the porter escorts people to the underworld (Satan? ) So Jamie Beamish, as the porter comes on with an Irish accent and throws open his coat to reveal himself as a suicide bomber with brightly coloured large fireworks strapped round him rather than dynamite. The audience interaction he gets up to with these is well-executed physical comedy. Everyone thinks ‘suicide bomber’ but the long coat, the Irish accent and the huge smile are I think  references to James Coburn, as the Irish terrorist and dynamite expert in Sergio Leone’s A Fistful of Dynamite ( aka, Duck, you sucker! ) James Coburn in A Fistful of Dynamite Two problems though. Even after the acclaimed film Four Lions, you come out thinking, well, sorry, suicide bombers aren’t funny. Period. And Irish accented bombers are poor taste too. Was it part of the reference to modern war? The set as a defaced church was a Protestant v  Catholic piece of history. The newspapers in Spring 2011 were full of sectarian bomb threats around Glasgow’s football clubs. But if so, I don’t feel it worked. Also it clashes in mood too much. That led to another issue that should have been foreseen. The Irish-accented porter gives way to the Irish-accented MacDuff, and you think, ‘What? Why has everyone suddenly become Irish? ’ In fact, we swore that Lady Macbeth lapsed into a couple of Irish-inflected lines right afterwards. Accents are catching on stage. No problem with the accent, but the disconcerting effect of the necessary juxtaposition should have been noted. They use “flying” a lot. Some of it is stunning. Some of it is just showing off the new theatre. The music from three cellists seated above the stage (and remaining motionless when not playing) is a major feature. The end effect is like a bad dream, disturbing images crossing over each other. The church mutates in part two, the broken windows are shuttered, wood panelling obscures the defaced saints. At the end the shutters open to reveal restored stained glass windows, and the saint statue has gone from its niche. I can’t quite follow the symbolism, but I’m sure the designer and director have something we’re supposed to get here (hence the long programme note). It’s an important Macbeth, and one worthy of reopening our greatest theatrical space. It’s one that will be cited in discussions of future productions. There were bits I thought wonderful. The lack of electricity between Macbeth and Lady Macbeth, and the porter scene are minus points. I can feel the point of the demagogue soliloquys, but I’m not enamoured of the style. SEE ALSO: Macbeth – McAvoy 2013, Trafalgar Studio, James McAvoy as Macbeth Macbeth, RSC 2011  Jonathan Slinger as Macbeth Macbeth – Tara Arts  2015 (Shakespeare’s Macbeth) on tour, Poole Lighthouse Macbeth, Young Vic, 2015 Macbeth – Globe 2016, Ray Fearon as Macbeth Macbeth, RSC, 2018. Christopher Ecclestone as Macbeth. Macbeth, National Theatre 2018, Rory Kinnear as Macbeth Macbeth, Wanamaker Playhouse 2018, Paul Ready as Macbeth Macbeth, Watermill Theatre, 2019. Billy Postlethwaite as Macbeth. Macbeth, Chichester 2019, John Simm as Macbeth.

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RSC LIVE: MACBETH (2018) Type Feature Approx. Running minutes 157 Ratings Info moderate violence, bloody images Genre(s) Performance Director(s) Polly Findley Cast includes Christopher Eccleston, Niamh Cusack, Edward Bennett, Raphael Sowole, Mariam Haque, Bally Gill Summary RSC LIVE FROM STRATFORD UPON AVON: MACBETH is a live recording of a performance of Shakespeare's tragedy. Cut All known versions of this work passed uncut. 12A Ratings info Ratings info publication date 25/04/2018 Note: The following text may contain spoilers RSC LIVE FROM STRATFORD UPON AVON: MACBETH is a live recording of a performance of Shakespeare's tragedy. Violence A man's neck is cut, with brief sight of a blood spurt upon impact. Injury detail In the aftermath of battle or murder, characters are shown with blood stained clothes and bodies. Details Title RSC LIVE: MACBETH Also known as RSC LIVE FROM STRATFORD UPON AVON: MACBETH Year 2018 Formats Cinema Distributor(s) Trafalgar Releasing Ltd Classified date(s) 25/04/2018 Main language English BBFC reference AZF361276.

Rsc live: macbeth movie online review. London Theater Reviews Credit... Richard Davenport STRATFORD-UPON-AVON, England — “Macbeth” is Shakespeare’s shortest and most concentrated tragedy, shot through with well-known phrases and images. Why, then, is it so rarely satisfying when performed? You almost feel as if its infamous witches were having their wicked way with this vexed play, four centuries on. That question is worth returning to in the wake of fresh sightings of “Macbeth” at two of England’s most established theatrical institutions, the Royal Shakespeare Company, or R. S. C., here and the National Theater in London. Both have opened hot on each other’s heels. (Enthusiasts of “the Scottish play” can also catch Verdi’s opera based on it at the Royal Opera House from March 25; the choreographer Mark Bruce’s dance-theater version, meanwhile, is touring England through May. ) The R. C. and the National’s productions have their virtues. But after seeing them in quick succession, I found myself pondering the curse that apparently haunts this play: It fails more consistently than it succeeds. While many actors find lasting acclaim playing Hamlet or, in later life, King Lear, celebrated Macbeths are comparatively rare, and not a few productions of “Macbeth” have become legendary failures — Peter O’Toole at the Old Vic in London in 1980, to name but one. Neither the R. nor the National production is a car crash. But both illustrate the difficulty in finding an appropriate physical landscape for a play whose real terrain is Macbeth’s diseased mind. What the play needs is some way to make sense of its unyielding savagery and darkness. Who are these jabbering women at the beginning, for instance, and how literally are we meant to take them? At Stratford-upon-Avon, the director Polly Findlay has cast three doll-clutching girls to play the witches. From the opening scene, they locate “Macbeth” in a forbidding supernatural realm that is unique in Shakespeare. The conceit suits this veritable abattoir of a play in which children exist to be done away with: Why shouldn’t these “weird sisters” function as an eerie reminder of that fact? Except, alas, that — even amplified — the child actors aren’t easy to hear. Later they are pressed into service to move the set around. Have the stagehands gone on strike? Nor is there much luxuriance in the language as spoken by Christopher Eccleston in the title role. He is a comparative newbie to Shakespeare and charges through Macbeth’s various set pieces with a flat and unvarying vocal attack. The actor comes naturally by the “rugged looks” spoken of by his wife (a jittery Niamh Cusack, who overplays Lady Macbeth’s spousal agitation). But rather than any sense of a murderous king spiritually hollowed out by his own ascent, we get Macbeth as a blunt, bluff pugilist who looks as if he would be happier taking on Jake LaMotta in “Raging Bull” than ruminating over matters of conscience. Ms. Findlay, the director, worked wonders with a wacky “ As You Like It ” several years ago at the National. But her modernist approach this time includes a faceless, multilevel set, drained of color but containing a water cooler next to which sits the Porter (an ever-deadpan Michael Hodgson), who now and then pushes a carpet sweeper around. Both her stars wander into the audience, to little purpose, and Ms. Cusack shows her bloodied palms to unsuspecting spectators in the front row. A clock above the stage counts down to Macbeth’s death, at which point Edward Bennett’s portly Macduff informs us, “the time is free. ” Anyone craving a fuller sense of the psychic legacy of a warrior at odds with himself is better off with the National’s production, with the ravishingly spoken Rory Kinnear in the title role. His climactic “I have lived long enough” finds more power in a single line than the entirety of the R. ’s brisk reckoning. Mr. Kinnear has won awards for playing Hamlet and Iago on the stage now hosting his Macbeth, and he knows his way through the sinuous, ever-shifting mind-sets of Shakespeare’s tragic leading men. (By contrast, Rufus Norris, this production’s director, last turned his hand to Shakespeare more than a quarter-century ago. ) The production that surrounds Mr. Kinnear is guaranteed to enrage purists wanting Scottish accents and some explanation for the enormous trash bags hanging from Rae Smith’s cavernously gloomy set. A note in the program locates the action happening “now, after a civil war, ” amid a grubby, grimy community concerned less with kingship than the mere rudiments of survival. The “royal preparation” for battle referenced in the text here consists of Mr. Kinnear affixing knives to his torso; beheadings, appropriately enough, frame the action. The soundscape couples ominous rumblings with high-pitched bleats, to evoke a post-apocalyptic ruin of a world in which Mr. Norris’s witches — adults, this time — shimmy up poles to survey the desolation below. If all this sounds like sound and fury signifying you know what, the result is at the very least an improvement on the shouty Lincoln Center “Macbeth” in New York in 2013 in which Anne-Marie Duff first played Lady Macbeth. She returns to that role (and to a happier onstage partnership) this time round. It’s worth remembering, too, that the same play brought to grief at least two of Mr. Norris’s predecessors as artistic director of the National, Peter Hall and Richard Eyre, whose stagings were met with lukewarm reviews, albeit 15 years apart. “Macbeth” demands a claustrophobia and intensity — and a forensic fury — that seems frustratingly tricky to capture, though not for wont of trying. At this rate, I wouldn’t be surprised to find a third “Macbeth” opening somewhere nearby next week.

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Allahu akhbar. Rsc live: macbeth movie online now. King Duncan: exists Macbeth: Im about to end this mans whole career. Rsc live: macbeth movie online 2016. Rsc live: macbeth movie online release. 4:51 I guess Azel was an intellectual. If you know, you know. My theatre group and I are doing a version of Macbeth in space. RSC Live: Macbeth Movie online poker. RSC Live: Macbeth Movie online casino. Rsc live: macbeth movie online free. RSC Live: Macbeth Movie online. Rsc live: macbeth movie online torrent. The girls playing the witches are so cute! I'm finishing up high school and I'm still not that great when it comes to Shakespeare, so I applaud them for doing an amazing job at a young age.

Rsc live: macbeth movie online stream. Also source of the best quote in all of Shakespeare: “He kills him He has killed me mother”. RSC Live: Macbeth Movie. April 11, 2018, by Peter Kirwan At the moment of Duncan’s death, a timer set at two hours appeared on the upstage wall, and began counting down. Polly Findlay’s Macbeth – and Christopher Ecclestone’s titular monarch – shifted from that point into an inevitable decline, the ever-present clock reminding Macbeth of the inevitable consequences of his fatal action. And with two minutes to go, Edward Bennett’s Macduff wrestled with Macbeth, the two grappling in a desperate, time-pinched struggle. Until, in the final ten seconds, Macbeth got up, said ‘Enough’, and allowed Macduff to slit his throat. This moment was the climactic anticlimax of many in Findlay’s over-busy Macbeth, a production built around a number of concepts that never fully cohered, and whose contrivances created other problems. I spend another time checking my watch in the theatre as it is without needing an onstage timer reminding me of quite how long I’ve got left to sit through, and I found that the clock slowed the sense of time down to a crawl, removing any sense of spontaneity or urgency (at least until the final seconds). It reminded me of Tim Minchin’s similar conceit for his ‘Three-Minute Song’, except the stakes for compressing a full song into that time-span allow for a virtuoso and breathtaking performance; here, two hours (at already half an hour in) felt positively languid. The central conceit took a while to emerge clearly, but made some sense. This Macbeth was framed against a diabolic waiting room, decorated with fiendishly mundane water-cooler and pot plants. The omnipresent Porter ( Michael Hodgson) sat on one of a row of chairs, watching the action, and tallying the deaths (though the count was by the end divorced from the number of reported deaths, which rather undermined the earlier use of the device). The Porter, slow and drawling, also stood in as Seyton, the Third Murderer and the Old Man, offering continual interruptions; but his role as Satan was understood in the diabolical light that shone on him as he responded to his name in the closing act. The production’s most innovative moment came as the witches’ apparitions exploded onto the stage to the same knock-knocking that had scored the Porter’s earlier soliloquy; the apparitions were ghosts of those already murdered, including Lady Macbeth’s whiskey-swilling attendant, and these ghosts cackled and laughed at the flummoxed Macbeth. The mundanity of the waiting room, though, led to a bathetic banality at times when a bit of urgency wouldn’t have gone amiss. During Banquo’s murder, the Porter engaged in a silent comedy routine, standing behind Raphael Sowole’s Banquo and miming stabbing to encourage the reticent Murderers to get on with it; the sudden switch to a murder in blackout a jarring tonal misfire. And the Porter sardonically pointed at Macbeth when Macduff entered, part of a completely different play than Bennett and Ecclestone. The undermining humour was just that – undermining. The waiting room was at least original. The witches were played by children in what is by now a hackneyed trope; worse, the interpretive significance of this in this production was muddy at best. The three pyjama-clad girls appeared sitting in front of Duncan’s sickbed at the opening, speaking in baby voices while manipulating dolls. The children were legitimately creepy, their blank faces captured in close-up in Robin Lough’s direction for the screen, but did little beyond this. The production had some interest in conecting Niamh Cusack’s Lady Macbeth to the idea of absent children – in a particular crass bit of emotion-wrangling, she listened to and wailed at a recording of Lady Macduff and her children being murdered – but I didn’t catch the production trying to link the witches to this aspect of her character. Eccleston and Cusack were somewhat lost among the competing concepts of waiting rooms, ghosts, ticking clocks and freaky children, which was a shame as both had plenty to offer. Ecclestone in particular was a brusque, business-like Macbeth, terrifying in his explosions of energy as he prepared for war, and withering in his dismissal of niceties. His matter-of-fact delivery of ‘It was a rough night’, and his ‘Thanks for that’ to the cut-throat murderer, both brought heightened moments back down to earth to great comic effect, and his wheeling when confronted with the witches and the visions captured the clash of a simple soldier with the grand machinations of fate and the supernatural. Ecclestone played Macbeth as disarmingly awkward at times, he even momentarily stepping forward to accept the title of Duncan’s heir before realising Malcolm was being honoured instead. But this potentially fascinating Macbeth just didn’t have enough time or space free of the other stuff to let his performance breathe. Cusack didn’t need breath at all. She started at a high, declamatory pitch and sustained it constantly through the performance. In the earlier scenes this worked in her favour – she had a persuasive energy that swept Macbeth along in the build-up to the murder, and her frustrated arm waving at Macbeth as he refused to pick up the bloodied daggers showed her expending energy fruitlessly. But the production didn’t seem sure what to do with her in the second half, leading to a disastrous sleepwalking scene in which she performed maniacally: thrashing on the floor, beelining at odd angles, and even indulging in some hugely misjudged attempts at humour as she tried to take the hand of an audience member. Cusack disappeared further into the background, literally behind a glass screen at the balcony level, and (particularly oddly, given that all of the live broadcast paratexts were devoted to Lady Macbeth) seemed ultimately entirely peripheral to the production’s interests. Thankfully, several of the supporting performances were much stronger. Bally Gill was a conscientious and sincere Ross, whose ongoing relationship with the Macduffs positioned him as a caring, sometimes cynical, victim of and commentator on Macbeth’s rule. Mariam Haque and Joshua Vaughan were touching as the doomed Lady and Young Macduff, their scene of sad banter one of the most natural I’ve ever seen (and Young Macduff’s greetings of Ross showed a longstanding familiarity there). Katy Brittain surprisingly stood out as a heartfelt Doctor, and Luke Newberry had some solid moments as an impossibly young and dorkish Malcolm. Unfathomably, however, Findlay chose to aim for cheap pathos at the end by bringing Donna Banya’s Donalbain back to die against Macbeth, and to give Malcolm a body to cradle just before being crowned. The standout, however, was the always-reliable Bennett as Macduff. Bookish and bespectacled, this Macduff was no fighter, and his ashen-faced call for the house to awake after discovering Duncan’s body was a mere precursor of his devastating receipt of the news of the death of his wife and chidren. Falling over his words, overwhelmed by emotion, he entirely sold the impact, and set up a strong arc in which he finally donned fatigues and marched against Macbeth, taking a beating at the tyrant’s hands and feet before the clock ran out, and Macduff was able to laugh in victory. With the timer at zero, Malcolm was crowned and a new future hailed in Scotland. Then, as is almost compulsory for productions, Banquo appeared with a sword, implying the cyclical nature of violence and the possibility of renewed tumult. Not content with subtleties, however, the witches then appeared, and the onstage clock rewound to the two-hour mark, and the children again spoke the play’s opening line. Aside from the unnecessary hammering home of the point, this rather unfortunately briefly raised the spectre of having to go through all of this again. The result was a Macbeth with plenty of potential, but which failed to cohere and which was ultimately rather less than the sum of its parts.

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