Stantonbury Theatre, Milton Keynes
May 17, 2018
David Mead
There is just so much in Macbeth, that you wonder why more choreographers haven’t attempted a straightforward telling of the story. Bruce certainly does that, setting out the narrative clearly while, just as he did in The Odyssey and Dracula, again conjuring up supernatural forces in what is a juicily dark and atmospheric telling of the tale.
The set and lights by Phil Eddolls and Guy Hoare provide a visual feast. Right from the beginning, Bruce draws us into the dark world that the characters inhabit. A distant view of industrial chimneys suggests that it all takes place across some wide river. So close to modern civilisation yet so divorced from it. Equally clever are the wooden stakes that form the walls of Macbeth’s castle, before transforming into Birnam Wood, and finally are used to run Macbeth through in a dramatic and bloody finale.
And there is a lot of blood, although the most dramatic moment comes with red of a different nature. As Duncan’s gory corpse is consumed on a funeral pyre, his body appears to rise from the fire. Spine-tingling indeed.
Photo Nicole Guarino
There are plenty of other memorable images and moments too. A spotlight on the single dagger that dominates Macbeth’s monologue is remarkably powerful. One of the best moments comes with the appearance of Banquo’s ghost, not at a feast but on the ballroom floor. Macbeth dances with his wife but when he looks away for a moment, Banquo silently takes her place, Macbeth finding himself looking at a haunted face, holding a blood-encursted hand. Simple but hugely effective.
Some scenes are particularly unnerving, especially the ritualistic beheadings with a ceremonial sword. It is impossible not to think of events of the not too distant past.
As impressive as the whole cast is, the stage is dominated by Jonathan Goddard and Eleanor Duval as the Macbeths. The hollow-eyed Goddard has a malign gracefulness as he prowls the stage. His is a Macbeth tormented and driven by his demons but manipulated by his malicious and scheming wife in equal measure. That she will stop at nothing to become queen is abundantly clear.
Bruce also shows us their love for one another as he digs into the complexity of their character and relationship, not least in the early, quite sexy, duets that has their bodies intertwining and curling round each other. You can almost imagine them hatching their plans, or at least her sowing the seeds in his mind, as they dance. The first act also sees some refined courtly dances littered with folk dance steps as the dancers cross in intricate patterns.
Photo Nicole Guarino
As much as Lady Macbeth drove him on, the witches are probably the main reason for Macbeth’s downfall. Once they told him he would be king, he and his wife became obsessed with making it happen. Appropriately, Bruce ramps up their importance. At first, they are beautifully ethereal in their silver-feathered headdresses but it’s not long before they are ripped away to reveal horrendously distorted faces as they fall to the floor in a howling morass of limbs. Most chilling, though, is the scene where they deliver their prophecies. Shopping bags dangling from arms and in platform heels they are a parody of young women as they show Macbeth three grotesque and scary dolls who will later steal the throne.
Sadly, Stantonbury brought the Spring tour of Macbeth to an end. There are presently no plans to bring it back, but equally it hasn’t been ruled out. One can but hope.