Queen's Theatre Hornchurch Archives - Page 2 of 7

In an arresting version of his shortest, bloodiest tragedy, Shakespeare tells of unbridled ambition and the ensuing punishment in a tale of brutality, guilt, innocence and fate. Returning home from battle, Macbeth and fellow general, Banquo, come across three witches, whose supernatural element denotes temptation, and they foretell that Macbeth will become king. When Lady Macbeth hears the news, she persuades her husband to quicken things along by killing King Duncan. Afterwards, Macbeth becomes desperate with fear of losing the crown and gets rid of everyone who he thinks stands in his way, until nobleman Macduff gets his revenge. In contrast, Lady Macbeth is haunted by guilt, day and night, and eventually kills herself. The narrative has relevance today with its timeless themes and gives the central couple a modern slant through Lady Macbeth’s calculating dominance in their relationship – an unusual depiction of a wife for that time.

Douglas Rintoul’s mindful direction allows the play to be expressed by Shakespeare’s words which, in turn, enable the characters to develop. His subtle touches of imaginative staging, for example the silhouetted battles and murders, lessen the distraction from the psychological intensity and we are gripped by the horror of human nature. The technical effects enhance both the storyline and the atmosphere. A red laser shines across the bare stage, reminding us of the blood spilt for power. The lighting by Daniella Beattie illuminates the scenes with the glow of the northern landscape and the bleakness inside the castle. Paul Falconer’s incidental music and sound punctuates the action, adding clarity and mood to the plot, and the costumes (Chrissy Maddison) have an ageless simplicity, the earthy browns, blacks and greys of the men against the soft heather colours of the women.

Many of the cast play two or three parts, switching convincingly between them. The witches (Connie Walker, Danielle Kassaraté and Colette McNulty) are wild and mischievous with their sinister prophecies, while Tilda Wickham’s Malcolm verges on overly placid, especially when trying to pretend to be more tyrannous than Macbeth. Phoebe Sparrow as Lady Macbeth captures some poignant moments, notably the sleepwalking scene, but the hold she has on her husband appears as bullying rather than deep coercive malevolence and she seems to lose control quickly. Outstanding are Paul Tinto and Ewan Somers as Macbeth and Macduff. As the revengeful hero, Somer’s Macduff is played throughout with all his human traits intact, particularly when he learns of his slain family. Tinto, from brave warrior becomes the dominated spouse at home and then spirals into savage ruthlessness. Even his ‘To-morrow, and to-morrow…’ speech is said with a callous indifference for life.

A dramatically impressive production, it succeeds in bringing the darkness of Macbeth to life through inspired direction, artful effects and compelling acting, and portends another great year for Queen’s Theatre Hornchurch, The Stage Awards ‘London Theatre of the Year 2020’.

Reviewed by Joanna Hetherington

Photography by Mark Sepple