Macbeth

Liam Hourican and Lesley Conroy in Macbeth. Image, Ewa Figaszewska

**

It's a challenge undertaking William Shakspeare's Macbeth. Foolhardy, perhaps, to do so whilst in throwing distance of Druid Theatre’s universally acclaimed production. Volta Theatre Company’s production a labour of love. Director Nora McGettigan proving sincerity an empty virtue, with the road to hell lined with good intentions. Not that Macbeth is hell. That being part of the problem. It's not much of anything. Visually incoherent, with delivery unrhythmic and hurried, it glances across the skin yet never gets to the muscle and bone beneath. Invested performances absent a firm, guiding hand looking adrift, even as many nearly get there during key moments. But nearly never won a race, and Macbeth falls at too many hurdles to take to the podium.

Darkly complex, Shakespeare’s layering of the supernatural and psychological informs Macbeth from its opening moments. Recounting the demise of the Thane of Cawdor both an actual event and a narrative prophecy. Supernatural foreshadowing an elemental force as three witches predict Macbeth’s future. Yet witches, here, look like the demented cast of Waiting For Godot in the style of Brecht and Weill. Confirming the concertina as the most ugliest sounding instrument on the face of the earth, especially when next to mad, pointless cackles. Both annoyingly scoring scenes, or drowning out dialogue. And that’s the just the witches. Only Gillian Roberts' energised witch shines as she clambers and crawls with mischief and mayhem. Roberts, playing several roles, one of best things about this flawed production.

Sinéad Murphy and Gillian Roberts in Macbeth. Image, Ewa Figaszewska

Others have their moments, but only moments. Liam Bixby's Ross, Oliver Flitcroft’s Banquo, Jim Rogers’ Duncan, Darren Shannan's McDuff, and Liam Hourican’s Macbeth inconsistently showing strength whilst consistently showing untapped potential. Performances often delivered as if recited for a school exercise, or a solo audition. Shakespeare’s subtextual energy simply not there as the line is rushed, the details delivered, the truth eluded. Macbeth’s strutting and fretting delivered like a party political broadcast. Malcolm’s sudden assertion to stepping up to the plate utterly unconvincing absent the evolution of the scene, never mind the character. Lesley Conroy's Lady Macbeth seeking to be unsexed struggling for depth and intensity. Even as Conroy manages to navigate the transition from bloodthirsty Queen to haunted soul with conviction. Conroy confirming the issue isn’t competency. Her obvious talent looking, as are all onstage, for something to latch on to. Not finding it, they fall back on themselves. The result separate performances infrequently finding the same scene. McGettigan, deservedly an award-winning film director, struggling with the shift to stage. Its need for visceral immediacy, interflowing energies and supported actors finding her coming up short.

Visually, Colin Doran's lighting design is competent if never compelling. Jeni Roddy’s tartan, boiler-suited costumes, like Chrysi Chatzivasileiou’s shoddy looking set, a case of cobbled together disparate references hoping something might click. The whole looking low budget and disconcertingly dull. Lady Macbeth more Peig Sayers than sultry queen at times. Guns and swords begging one or the other be chosen. Air raid sirens, bins, and barn-like panels competing, confusing and quickly uninteresting. The end result less Macbeth not being quite ready yet, but more of it being lost at sea in search of dry land.

Macbeth by William Shakespeare, presented by Volta Theatre Company, runs at Smock Alley Theatre until April 2.

For more information visit Smock Alley Theatre