“there was some reliance on background tomfoolery, which occasionally distracted from the plot”
Approaching one of Shakespeare’s most famous plays of all time is in itself a daunting prospect, but Red Squash Theatre have gone the extra mile to make their lives difficult; three actors take one hour to perform Macbeth and make it funny. The result is Macbeeth, a knowingly daft and irreverent take on a plot of witchcraft, betrayal and murder.
Despite the utter silliness, there are very few deviations from the original text, although, by necessity, it is highly and effectively condensed. The limitations of this challenge mode edition of a classic are tackled effectively and get a lot of the laughs; the actors have good fun with the constraints of playing multiple characters and lean on the fourth wall with a cordial grin. The gags are mostly hits and the performers, particularly Rory Fairbairn (who is credited to fourteen roles in this one production), are likeable and welcome the audience into their good-natured mayhem.
Unfortunately, the humour rarely derives from the text itself, and I couldn’t escape the feeling that I was watching a performance of the original tragedy with some gags thrown in. While the best jokes poked fun at the original play’s most well known soliloquies, many more were incidental and failed to feel at home against the original text; there was some reliance on background tomfoolery, which occasionally distracted from the plot, while the few sections that were played mostly straight felt out of place with them absent.
Nevertheless, Macbeeth responds to the core demands of the original play excellently and this was one of its delights. The murder of Duncan and the appearance of Banquo’s ghost in particular are handled in surprising and effective ways. Props are simple but used well and resonate with Red Squash Theatre’s minimalist approach, although at times the cardboard crowns and plastic daggers can run the risk of being naff.
Macbeeth is a breathless and gleefully childish romp that refuses to take Shakespeare too seriously. Its silliness, while throwaway, is often genuinely very funny, and the ambitious project of condensing five acts of Macbeth, without losing content, is realised successfully. However, Macbeeth suffers from the unfortunate, but predictable, consequence of trying to make a tragedy into a comedy with few editions to the original text; it doesn’t quite feel like one thing but doesn’t feel like the other, either.
Reviewed by Matthew Wild
Photography courtesy Red Squash Theatre
Macbeeth
is at the Hen & Chickens Theatre until 16th December
“a quality script, beautifully delivered and charmingly performed”
Coincidence creates connection in this sweet and gentle tale of strangers living in an anonymous city. Julia Cranney’s play tells the story of Daniel and Ava, two unlikely companions dealing with the loneliness of modern life and finding comfort in a chance encounter. The second show, from the already award-winning Pennyworth Productions, is a delicate comedy attempting to address the loneliness of modern living. A gentle laugh rather than a guffaw.
This is perfect 6’o’clock viewing – a good cup of coffee at the end of the day. Endearing from the outset, the play presents our two abandoned souls with warmth and humour, never cloying or obvious. The production plays to the venue’s strengths, keeping it simple and open, but not un-sophisticated. The action of the play is mainly told through two voice overs, which is insightful but not over bearing, and Richard Speir’s direction carefully balances the blossoming friendship. The overall effect is very slick, but most importantly frees the actors to really nuance their performances.
As a two hander, the play rests on the strength of the cast and both performers more than live up to the task. Writer Julia Cranney is all too recognisable as the isolated Ava, both desperate and terrified to reach out to others. Nervy and vulnerable, Cranney’s is equally matched by the stoic and easy going Daniel, a man dealing with the aftermath a family breakdown. In lesser hands, this character could have easily been seedy, but Simon Mattacks is brilliant in his portrayal – instantly reassuring and charismatic. The contrast between the world-weary and the naïve have you really rooting for these characters to open up to each other from the get go, and the pay off, though small, is striking.
The only slight criticism I can offer is a scene where Mattacks performs with his back to the audience. While I can see the narrative sense and it is in-keeping with the tone of the piece, it shuts Daniel out of the intimacy that Speir’s has built between the audience and the performers. Even that slight barrier, made me feel like I was missing something from the scene as a whole. That said, it gives Cranney a real chance to articulate Ava’s dilemma and Mattacks recovers more than admirably.
I really liked this show. While it may not be the flashiest or most spectacular show on the Fringe this season, what it does it does really – a quality script, beautifully delivered and charmingly performed. This is a company that clearly takes a lot of pride in their work and it certainly pays off – this is new writing at its best. A strong and safe second outing for a new company that I would highly recommend.
Reviewed for thespyinthestalls.com
MOMENTS
is at the Hen & Chickens Theatre on 26th & 27th August as part of the Camden Fringe Festival
