“It proves that Shakespeare can be, when executed correctly, staged in a million different ways”
Nowadays Shakespearian performances can often be met with additional scrutiny, usually with how well they meet the criteria for utilising the words and traditional style “correctly.” Arguably, this has been heightened following the fiery debates surrounding The Globe’s former Artistic Director Emma Rice, and her creative decisions, attempting to bring a certain modernity to these historic texts. Devil You Know Theatre Company’s performance of Macbeth at The CLF Theatre in Peckham proved that Shakespearian texts can appeal to a modern audience whilst still maintaining the main features from the original writings.
The CLF Theatre is based in Peckham’s Bussey Building, a multi-level warehouse space run by the Chronic Love Foundation. There couldn’t be a more suitable venue for such an intimate rendition of one of Shakespeare’s greatest Tragedies. The stripped back Black Box theatre, complete with exposed brickwork, was the perfect backdrop for this particular performance of Macbeth. Although at the beginning it wasn’t particularly clear in which era this adaptation was set, it was obvious that director Paul Tomlinson had chosen to capitalise on one of Macbeth’s dominant thematic traits, war. As the performance began, the pace was particularly slow, although within the first couple of scenes it picked up swimmingly. I couldn’t believe the duration of the performance was over 2 ½ hours, as the pace of the piece kept my attention throughout, which is not something I can say for many previous performances of Macbeth I have seen – even though it is my favourite of Shakespeare’s plays.
The intimate setting as well as the pace were the winning combination for this particular adaptation of Macbeth. Additionally the actors, particularly Sadie Pepperell (Lady Macbeth), Cameron Crighton (Banquo) and Jake Sullivan (Angus/The Bleeding Sergeant/First Murderer), added an incredible energy from start to finish, accompanied by some beautiful characterisation. The pace in the second half rose to a wonderful crescendo as the audience followed Macbeth’s slow descent into a blood-thirsty, maddening rage.
Whilst the production perhaps often relied on props, it never felt like it was a meaningless addition to the overall performance. This was particularly true for the weaponry that features heavily in this particular play and seemed reminiscent of original Elizabethan versions of the text. The selection of the text performed kept recognisable lines from the play but it also seemed the director had made the wise decision to cut down large chunks of it. This allowed for the performance to maintain its engaging pace and for the plot to move along as quick as possible. There was barely a beat between scenes which allowed for the actors to maintain the audience’s attention.
This performance demonstrated how to carefully adapt Macbeth. It proves that Shakespeare can be, when executed correctly, staged in a million different ways and yet still maintain the timeless themes that run through all the texts. It’s incredibly accessible, and would work as an excellent introduction to any audience member who has not had the chance to experience a Shakespearian performance before. Devil You Know Theatre Company proved that an excellently executed version of Macbeth doesn’t have to rely heavily on expensive sets, costumes or props. Its predominant focus was upon the delivery of the text itself, which I’m sure would satisfy even the harshest of Shakespearian critics. However, a gentle warning to those who aren’t a fan of fake blood, there is a copious amount in this performance!
Final casting is revealed today for Iris Theatre’s 10th anniversary immersive production of Macbeth, joining the previously announced David Hywel Baynes, who has returned from the US to star as Macbeth following his Best Actor Offie Award-nominated tour-de-force as King Richard in Richard III, also for Iris Theatre.
Macbeth by William Shakespeare, directed by Daniel Winder, will run Wednesday 21 June – Saturday 29 July.
Macbeth cast
David Hywel Baynes (Macbeth/Rebel Soldier). Previous theatre includes: Caliban in The Tempest (Ophelia Theatre Group); The Dauphin, Henry V (Globe); Bolt, Pericles (Savannah Music Festival); Richard, Richard III (Offie nomination for Best Actor), Queen of Hearts and March Hare, Alice in Wonderland, Brutus, Julius Caesar, Puck, A Midsummer Night’s Dream, and Chief Weasel, The Wind in the Willows (Iris Theatre at St Paul’s Church). David is also founder and artistic director for the recently formed New York Shakespeare Company.
Stephan Boyce (Duncan & Seyton/Porter & Padock & Apparitions). Theatre includes: Romeo & Juliet (Reading Between The Lines Theatre Company, Salisbury Playhouse); Titus Andronicus (The Malachite Theatre Company); Thirst (Brightlights
Production Company).
Jenny Horsthuis (Malcolm & Lady Macduff & Second Witch) Theatre includes: Mr Kolpert, Olga, Othello, The Cherry Orchard, The Taming of The Shrew, Pressure Drop, Summer Brave,The Baden-Baden Lesson on Consent, The Permanent Way (East 15).
Nick Howard-Brown (Banquo & Captain & Apparitions). Theatre includes: Much Ado About Nothing, Treasure Island, Twelfth Night, Pinocchio, Julius Caesar, Richard III, Alice in Wonderland, Alice Through the Looking Glass (Iris); The Merchant of Venice (The Globe); Hamlet (Tivoli Theatre).
Linford Johnson (Ross/1st Witch). Theatre includes: Show Boat (New London); War Horse (UK, Ireland, South Africa tour); Hair (Hope Mill Theatre); Alice’s Adventures Underground (Waterloo Vaults).
Mogali Masuku (Lady Macbeth & Macduff’s Son & Captain’s Son & Fleance & Third Witch). This is Mogali’s professional debut.
Matt Stubbs (Macduff & Murderer & Harpier & Apparitions). Theatre includes: A Midsummer Night’s Dream (Stafford Castle); Much Ado About Nothing, A Midsummer Night’s Dream, Romeo and Juliet, Macbeth (Page2Stage Productions); Love In The Wood (Theatre Royal Haymarket).
Macbeth Creative Team: Director Daniel Winder. Set Designer Alice Channon. Costume Designer Anna Sances. Fight Director Roger Bartlett. Lighting Designer Benjamin Polya. Sound Designer and Composer Filipe Gomes. Movement Elissa Aravidou. Witches Choreographer Lina Johansson.
Artistic director Daniel Winder opens the 2017 season by directing Shakespeare’s Macbeth, a terrifying journey into the mind of a murderer. This production will weave its way around the grounds of St Paul’s Church; reflecting the play’s journey into the twisted mental landscape of Macbeth as he rises to be king.
Returning to Iris Theatre after three years, David Hywel Baynes takes on the title role, following his critically-acclaimed and Offie-nominated performance in the Iris production of Richard III. David said:
“Getting the chance to come back and work on my favourite play with the Iris family was a no-brainer. The environment surrounding Iris during the summer season is like no other. And it’s truly an honour to be back in London with them as they celebrate their 10th anniversary. May there be many more to come!”
Celebrating its 10th anniversary this year, Iris is a dynamic theatre company based at the world-famous St. Paul’s Church in Covent Garden. The company, established in 2007 by Artistic Director Daniel Winder, has a reputation for producing vibrant and accessible site-specic and outdoor theatre, alongside a growing new musical theatre strand. Iris gained full charity status in 2009 with a mission to support the development of the next generation of professional theatre practitioners. This year Iris will also produce The Odyssey, directed by Phil Wilmott, for Gods and Monsters Theatre at The Scoop on the South Bank.
MACBETH
by William Shakespeare
21 June – 29 July
St Paul’s Church
Bedford St,
Covent Garden
London WC2E 9ED
