Tag Archives: Emma Gradwell

Macbeth
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Watermill Theatre

Macbeth

Macbeth

Watermill Theatre

Reviewed – 4th March 2019

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“Postlethwaite commands as Macbeth. He is every inch the rugged soldier and he compellingly takes us through the light and shade of Macbethโ€™s personality”

 

The Watermill Theatre in Bagnor near Newbury is without doubt one of the most beautifully located theatres that there is. The auditorium seats just 200 people and the fixtures of a once working mill make it utterly charming and unique. It prides itself on its in-house productions providing an eclectic mix of classic and contemporary pieces.

Macbeth has been a very present work in the last year, with both the Royal Shakespeare Company and the National Theatre giving us updated productions. Traditionally, Macbeth, a brave Scottish General, is visited by a trio of witches who prophesise that he will become King of Scotland. His ambition, and that of his wife, spurs him to murder King Duncan and take the throne. A continuity of control and ruthless violence create their eventual demise as they are consumed by guilt and paranoia.

Artistic Director, Paul Hart has tried to bring some original elements to this production. Sometimes it works and sometimes it falls short. The set (Katie Lias) is simple and relies heavily on lighting to create the necessary tone of the piece. Lighting Designer Tom White succeeds to an extent. Duncanโ€™s murder is one of the most compelling moments in the production and this is largely down to the staging and lighting which create a sinister and shocking scene. It also worked very well at the close as we saw the blood falling down the wall as it fell from Malcomโ€™s crown. However, throughout the rest of the production it was less effective and uninteresting.

Billy Postlethwaite commands as Macbeth. He is every inch the rugged soldier and he compellingly takes us through the light and shade of Macbethโ€™s personality during the monologues and soliloquies. Lillie Flynn as Banquo is excellent although I was confused as to the relevance of the gender swapping of the character as it did not bring anything to the production. Emma McDonald as Lady Macbeth is rightly, unlikable and I felt no sympathy for the character. Her diction seemed over enunciated and the presentation felt forced. Eva Feiler as the Porter confused me and the performance was never quite humorous or creepy enough. The idea of this character as a bell hop could have been a genius one but it never reached its potential. The exclusion of the Wyrd Sisters was also a baffling choice.

The Watermill has been using the musical element of their productions as an integral part of their plays for some time. I have seen it work in previous productions to great effect but with Macbeth it seemed formulaic though the choreography by Movement Director, Tom Jackson Greaves was pleasant and effective. Shakespeare works best when kept fresh and relevant and sadly this production did not quite manage it.

 

Reviewed by Emma Gradwell

Photography by Pamela Raith

 


Macbeth

Watermill Theatre until 30th March

 

Last ten shows reviewed at this venue:
Teddy | โ˜…โ˜…โ˜…โ˜…โ˜… | January 2018
The Rivals | โ˜…โ˜…โ˜…โ˜…โ˜… | March 2018
Burke & Hare | โ˜…โ˜…โ˜…โ˜… | April 2018
A Midsummer Night’s Dream | โ˜…โ˜…โ˜…โ˜… | May 2018
Jerusalem | โ˜…โ˜…โ˜…โ˜…โ˜… | June 2018
Trial by Laughter | โ˜…โ˜…โ˜…โ˜… | September 2018
Jane Eyre | โ˜…โ˜…โ˜…โ˜… | October 2018
Robin Hood | โ˜…โ˜…โ˜…โ˜… | December 2018
Murder For Two | โ˜…โ˜…โ˜…โ˜… | February 2019

 

Click here to see more of our latest reviews on thespyinthestalls.com

 

Jerusalem

Jerusalem
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Progress Theatre Reading

Jerusalem

Jerusalem

Progress Theatre

Reviewed – 8th February 2019

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“Progress Theatre rose to the challenge and have brought us a formidable production”

 

Hidden amongst the houses of Reading is the self-funding theatre group, Progress Theatre. This small theatre is the oldest in Reading and their ambition in taking on Jerusalem is admirable.ย Directed here by John Goodman, Jez Butterworthโ€™s play is a marathon at three hours long, with two intervals and a lot of swearing.

In walks Matt Tully as Johnny โ€˜Roosterโ€™ Byron and from the outset it is clear that the role is in safe hands. Shaking and hungover he downs his breakfast of vodka and milk. He is soon joined by a motley collective of the youth of Flintlock Village. It is St. Georgeโ€™s Day and the day of the Village Fair. As the morning progresses, the story of last nightโ€™s partying starts to come back to them all. Rooster has now been barred from every pub in the village and has destroyed his television set. It is apparent that Roosterโ€™s caravan in the woods is a convenient meeting place for the youngsters. They are given drugs and alcohol and an escape from their parents. Rooster refers to them as his rats, but it is clear that he needs to surround himself with youth to remain young. They hang on his words, with the possible exception of Ginger (Joseph Morbey), who is happy to tell Rooster that his stories are โ€œbollocksโ€. Morbeyโ€™s endearing take on Ginger proficiently leads us to understand the neediness of the character. He is the butt of the groupโ€™s jokes, but as it turns out, probably the only true friend that Rooster has. Although they appear to idolise Rooster, there is an undercurrent of mockery and a sense that they are using him for their convenience.

Laurence Maguire as Lee and Rex Rayner as Davey stand out as the guffawing village boys. Lee is planning an exodus to Australia, with its sun and surf, while Davey cannot leave Wiltshire without his ears popping. You get the feeling that although Lee wants to leave, he really wonโ€™t be able to. Alison Hill as the sweet and doddery Professor is charming and comedic. John Turner as Wesley, pub landlord, speed addict and Morris Dancer is also a stand out.

Tony Travisโ€™ set design is truly remarkable. The stageโ€™s centrepiece is Roosterโ€™s caravan, Waterloo surrounded by the detritus of endless parties. I am in awe of the trickery involved in getting a whole caravan through the doors.

Jerusalem is a reflection of Englandโ€™s green and pleasant land and also a sorrow of the takeover of housing estates and petty officialdom. We can empathise with those living with Rooster squatting on their doorstep, but it is hard not to root for him as we see him unravel with the realisation that his life as he knows it is coming to an end. Tullyโ€™s rambling monologues take us masterfully through Roosterโ€™s nonchalance to authority and finally to self-destruction, when it becomes clear he does not know what to do. His tall tales of Nigerians and giants symbolises that something beyond his control is coming to take what he holds dear, away from him.

Jez Butterworth has taken ordinary characters that are recognisable from our own life stories and made them extraordinary. Progress Theatre rose to the challenge and have brought us a formidable production. Iโ€™ve already booked to see it again.

Reviewed by Emma Gradwell

Photography by Aidan Moran

 


Jerusalem

Progress Theatre until 16th February

 

Previous shows covered by this reviewer:
Robin Hood | โ˜…โ˜…โ˜…โ˜… | Watermill Theatre Newbury | December 2018
Rocky Horror Show | โ˜…โ˜…โ˜…โ˜… | Theatre Royal Brighton | December 2018

 

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