On Wednesday, 18 November I underwent a profoundly moving, and disturbing, theatrical experience. Looking back, a small notice, which I saw before the production, pinned inside the gents, may have been a clue as to what was to follow. ‘Warning. This production makes use of special effects, loud noises and the firing of blank rounds.’ When I emerged later, reeling, into the intermission, I felt that live rounds had been used.

This stunningly atmospheric production, brilliantly staged by the Lowestoft Rep, was a relentless assault on the senses from beginning to end. The Weird Sisters were indeed weird; a Goth, a tracksuited harpie and a fifties schoolgirl. The opening battle where Banquo and MacBeth  routed the rebel armies, is portrayed as a nightclub brawl in a jerky, flickering video back-projection.
 
A modern production in every sense, this Brit-gangster-bad-boy production made full-use of multimedia, with striking yet restrained use of video back-projections and excellent choices of modern music during the scene changes.  All contributing to the atmosphere of brooding menace. In fact, I can’t wait for ‘Macbeth – The Soundtrack’ to be released.

There were interesting additions to plot narrative, which all contributed to the uniqueness of the production. For example, against a rocking soundtrack, the underworld wedding of the Macbeths was shown on the screen backdrop, followed by the arrival of their infant. The video quickly cut to the funeral of the infant; Macbeth bearing the tiny coffin. A harbinger of the tragedy to follow.

Macbeth in the criminal underworld was brilliantly and convincingly portrayed, with many caste members strutting the stage as swaggering, gun-toting hoods. The production was distinguished by attention to detail, thoughtful costume choice and imaginative staging. But all this would be as nought, were it not backed up by performances to match. John Hales, Actor-Director-Seagull-Theatre-Driving-Force, gave a towering performance.  Snarling menace, delivered in a Glaswegian growl, was combined with manic, deranged disarray. And the Main Draw of the production, Abi Titmuss, laid her Lads’ Mags ghost to rest with a studied and icily polished performance as the doomed spouse. They were backed up with excellent support in other roles, notably MacDuff and Duncan/Siward.

I predict the Seagull Rep’s Macbeth, its most ambitious production to date, will be a signal moment in its new and exciting history. ‘Ring the alarum bell….’ Indeed.

Hugh Gatenby
November 2009

Tour Dates:
24th and 26th November Fisher Theatre Bungay
27th November Sudbury Art Centre
29th November Open Norwich
4th December The Cut Halesworth