A striking reimagining of Shakespeare’s tale of murder and madness, Zinnie Harris approaches the tragedy from Lady Macbeth’s perspective. Macbeth’s wife is the one pulling the strings … or so she thinks. For those familiar with Macbeth, the basic plot remains … with twists. Scottish general Macbeth receives a prophecy from three witches that he will become king of Scotland, but that royal lineage will end with him. The title will then be bestowed upon the offspring of fellow general and Macbeth’s friend Banquo. For his victory in battle, King Duncan elevates Macbeth to the aristocratic rank of Thane of Cawdor. The king visits Macbeth at his castle, which is where Macbeth and his wife conspire to murder him.
Macbeth does so, subsequently becoming consumed by guilt and paranoia. As a result, he orders the murders of Banquo and many others, including nobleman Macduff’s wife. Macbeth is plagued by monstrous apparitions, as his mental health continues to deteriorate and he withdraws from public life. Meanwhile, Lady Macbeth assumes his duties and makes excuses for her husband’s distressing behaviour, which spook those in the royal court. As the three witches now visit Lady Macbeth, her fate is sealed, as Macduff – pained by grief and with a huge army in tow – extracts revenge. He positions King Duncan’s young offspring Malcolm, who had earlier fled to the English court, to assume the regal mantle.
As someone who never studied Shakespeare and struggles to comprehend the Bard’s language, Macbeth (An Undoing) is a breath of fresh air. Why? Because while the skulduggery involved in the quest for power remains intact, it is easily approachable and readily understandable. In fact, it is a superb and compelling production, in which the fourth wall is breached. The play starts with one of the performers, who goes on to assume the role of servant, addressing our eagerness to see blood spilled. She even references the large, barren set, which is actually a work of creative genius.
Concrete in colour, it takes the guise of a series of rooms with varied floor levels. Dressed with evocative props as the narrative unfolds, it rotates. It is the brainchild of set designer Dann Barber, whose period costuming is equally redolent. The beating of drums and tolling of bells are other distinguishing features of this mighty offering. Composer and sound designer Jethro Woodward stirs the soul with his portents of doom, while lighting designer Amelia Lever-Davidson elevates the spectacle. The 10-strong cast, several of whom assume multiple roles, excel. I was thoroughly engaged throughout and genuinely excited by the dramatisation, mixed with light hearted modern references. Zinnie Harris deserves high praise for her most worthy reworking of a classic.
Bojana Novakovic is on top of her game. She is a force to be reckoned with as the scheming Lady Macbeth, as Johnny Carr plays deeply troubled Macbeth with unsettling conviction. There are no compromises in David Woods’ portrayal of the stoic Macduff, while Jessica Clarke makes for a frisky and fraught Lady Macduff. Rashidi Edward has a spring in his step as the enthusiastic Banquo. There is an intensity about Tony Briggs and Khisraw Jones-Shukoor as royal attendants. The latter also makes an eye-opening appearance as a bloodied soldier. Jim Daly is up tempo as King Duncan, blissfully unaware of what is about to unfold. Tyallah Bullock plays up her persona as the naïve Malcolm, clearly ill equipped to fill her father’s shoes. Natasha Herbert is the glue that binds the production together, effectively top and tailing it – serving as audience warm up – and as the all-knowing servant.
Director Matthew Lutton has stamped his considerable prowess on an unforgettable theatrical masterwork, imbuing it with light and a surfeit of shade. The dastardly and duplicitous find favour anew in Macbeth (An Undoing), which brought to mind a line from early 19th century Scottish writer Sir Walter Scott. In his epic poem Marmion: A Tale of Flodden Field, he wrote: “Oh, what a tangled web we weave, when first we practice to deceive. Rush to buy a ticket to see Macbeth as you have never seen it before. It is on at Merlyn Theatre, at Malthouse Theatre, until 28th July, 2024.
Alex First
Other reviews you might enjoy:
- William Shakespeare’s Long Lost First Play (Abridged) – theatre review
- This is Living (Malthouse Theatre) – theatre review
- Emilia (Arts Centre Melbourne) – theatre review
Alex First is a Melbourne based journalist and communications specialist. He contributes to The Blurb on film and theatre.
