★★★

“Shakespeare in the Squares have created a very fine storytelling of Macbeth”

Shakespeare in the Squares, well-known for its summer seasons of outdoor theatre, presents its first indoor Winter season performing at a selection of London churches. Director Sioned Jones writes in her programme note that churches bear similarities to castles in their stone walls and echoes. Certainly, that combined with the high ceiling of the Actors’ Church provides a difficult ringing acoustic, more curse than atmosphere, for this team of actors to deal with. Otherwise, the brightness and warmth of this church are a far cry from a dark and dank Scottish castle.

This is a pared-back Macbeth, performed by just five actors in a whistle-stop ninety minutes. The production has been designed to tour and it looks like it. All the action takes place in a straight line centre stage in front of a props table. There’s only a little movement bar entries and exits and no use at all of any of the church nooks or wider spaces. Costumes are simple, with small additions or extractions as actors change characters, some in kilts and all with added tartan flourishes (Jida Akil designer).

The three witches in this production have become fortune tellers and their prophesies are read in the cards and from tea leaves. The actors don headscarves and there’s a nice moment when Molloy Walker begins her next scene in the Macbeth household still wearing her scarf, hastily hiding it away. We see that the secret of the witches is more mundane than ethereal. The other two actors ham these scenes up perhaps more than strictly necessary and both Sam D’Leon and Mohab Kaddah seem happier in their comic roles than when in the royal house as Duncan and Malcolm. D’Leon excels as first murderer, relishing the bloodthirstiness, but his MacDuff lacks the necessary nuances. There simply isn’t the time for them to be found. Molly Walker shines in all her supporting roles. Her Porter scene is excellent, making much of the knock knock joke routine with a touch of audience participation, and her diverse servants show character and depth despite their brevity.

Central to everything is, of course, Macbeth (Gavin Molloy) who is “likeable, relatable and funny as possible” according to the Director. It’s a long journey though from dependable war hero to murderous despot and Molloy’s performance is rather single faceted, his centre stage declamations unchanging despite Macbeth’s mind beginning to unravel. Each scene ends with his stamping exit down the central aisle following his closing rhyming couplet.

This production emphasises the fact that Macbeth is pushed into action by his ambitious wife and their touching early scenes together show them as a devoted couple. Cathy Walker is a dependable Lady Macbeth whose role has suffered less than the others in the adaptation. Her approach to Banquo, however, sees this important character more played as Wee Jimmie Krankie.

The play begins and ends with a jaunty song, entertainingly performed with clever lyrics containing some of Shakespeare’s lines. Other incidental music is limited but is performed to great effect in the final battle scene (Annemarie Lewis Thomas, composer and musical director). Commendable too is the film-like split screen direction of this scene and some fine fleet footwork shown by D’Leon and Molloy.

Shakespeare in the Squares have created a very fine storytelling of Macbeth, the adaptation keeps the tale moving and the skills of the multirole playing actors provide aural variation. The brevity of the adaptation, however, and its speedy delivery means subtleties are lost along with any hope of character development. The static nature of the direction means the performance is somewhat disappointing visually as is the directorial decision not to exploit the unique building into which the production has been brought.

KARINA CANELLAKIS CONDUCTS SCHUMANN & BRUCKNER at the Royal Festival Hall

★★★★

“An exhilarating central Scherzo is the highlight of the work”

The symphony orchestra is the apotheosis of classical music. A large number of first-class musicians in their own right – the London Philharmonic Orchestra – unite together to play as one under the keen ears of their Leader Pieter Schoeman and the baton of their Principal Guest Conductor, Karina Canellakis.

This concert by the London Philharmonic Orchestra at the Royal Festival Hall is part of ‘Moments Remembered’ – an ongoing series of concerts inspired by Jeremy Eichler’s book Time’s Echo in which the author suggests that music is a medium of memory forming a bridge to the past, allowing the listener to connect with things gone by. In which case, this concert takes us back to mid nineteenth century Germany.

It is a traditional symphony concert in its Overture, Concerto, Symphony format; a concert of two halves with the gentle inner passion of Robert Schumann offset by the grandiose fervour of Anton Bruckner (celebrating his bicentenary this year). Schumann’s Overture, Manfred, is music written to accompany Byron’s play – the hero, a wanderer haunted by a committed crime that he cannot remember. The tragic poignancy is well portrayed by the orchestra despite some initial doubts within the ensemble from the horns. Canellakis conducts with spirit and spiky elbows, her exaggerated beat perhaps more than necessary for something so intimate. The violins seated in classical format with the firsts and seconds facing each other sound especially lush during their antiphonal passages. The Concerto swiftly follows with renowned cellist Truls Mørk as the soloist. The work is not a true concerto as such. Three linked movements play without a break and the cello line seems to imitate a vocal song cycle in its melodic movement. Mørk’s playing is delightful. His sonorous and lyrical sound soars through the pared-back orchestral texture – often just string accompaniment. His rich and velvety bass tones are especially pleasing, so deep and unexpected. There are few changes in tempo and despite the markings of “not too fast – slowly – very lively” everything is taken at a rather pedestrian pace, which concentrates on the lyricism of the work rather than the virtuosic. Mørk treats us to an encore treat with a beautiful and poignant rendition of the Sarabande from the Second Bach Suite – staying with the German theme but taking us a further century back in the collective musical memory.

Into the second half of the concert and the orchestra near doubles in size. Bruckner’s Fourth Symphony is a gargantuan work of five movements over an hour in length and Canellakis’ conducting style comes into its own. She provides a clear beat to keep the rousing brass in check and perfectly holds everything together. Titled ‘Romantic’ the initial programme note for the work talks of misty medieval scenes, chivalric knights and hunting scenes and those images are there for the taking if wanted. Certainly, the horn calls hint at such, in passages which may have kept the soloist awake at nights in anticipation. There are dramatic shades of light and dark, contrasted well, and rousing brass passages. In the second movement it is the viola section that has a rare opportunity to take the limelight, and they are excellent, rising to the occasion in a repeated extended solo with plucked accompaniment from the other strings. An exhilarating central Scherzo is the highlight of the work, the brass again letting rip, before a lengthy final movement summarises what has gone before and ends uncertainly.

The LPO has to delve into an understanding of the German spirit for this programme, something English orchestras often fail to do, but Karina Canellakis is clearly showing them the way and they are looking and sounding great together.

Tag Archives: Phillip Money

MACBETH

★★★

St Paul’s Church Covent Garden

MACBETH at St Paul’s Church, Covent Garden

★★★

“Shakespeare in the Squares have created a very fine storytelling of Macbeth”

MACBETH at St Paul’s Church, Covent Garden then tour continues

Reviewed on 13th November 2024

by Phillip Money

Photography by James Millar

Previously reviewed at this venue:

THE GREAT GATSBY | ★★★ | August 2023

MACBETH

MACBETH

Click here to see our Recommended Shows page

KARINA CANELLAKIS CONDUCTS SCHUMANN & BRUCKNER

★★★★

Royal Festival Hall

KARINA CANELLAKIS CONDUCTS SCHUMANN & BRUCKNER at the Royal Festival Hall

★★★★

“An exhilarating central Scherzo is the highlight of the work”