¶MACBETH

by Anna Moraitis, June 2001.

I saw Macbeth at the Globe last Friday. Very abstract and provocative in

its use of set. Well spoken, very eloquent and everyone wearing dinner

jackets, the three witches wearing scrapped white glasses. Stylized battle

scenes and each character holding a pebble to symbolize his life which they

would

drop into a bucket when they got killed. The witches collected the

buckets/pebbles. But it focused on the language and avoided the hysterical

rant&raving other Macbees have. Overall very impressive and enjoyable.

The actors double the roles without costume change. Alright, that can be

confusing at times, but you quickly pick up that they are someone else now.

Remember, they do act after all.

It may happen that I do not know immediately who someone is each time they

speak, but then again I might also be clueless if they were wearing a pink

wig. My comprehension is not hindered by the lack of costume changes, but

instead the play demands me to focus on the dialogue that establishes the

identities. You really notice that Shakespeare always introduces his

characters when they enter.

The set is well done, abstract but cleverly used. See what you think...

An abstract and controversial production, provocative for sure. They know

what they're doing...

So the characters are dressed in dinner jackets. Big deal. Costumes is just

one part of a production and who said Macbeth has to hop around in kilts.

And most of the time the characters don't exit the stage but stay around

for their next scene. Yes, that blends one scene with the next and I found

I missed that moment of release when a character walks off-stage and the

next one arrives. I don't agree with the Royal's approach of having someone

march on stage for minutes on end, waiting till everyone has settled in,

and THEN deliver his lines. The Globe's swift scene changes are much better

in keeping the flow of the play, but you do need a brief interlude to

exhale and re-focus on the next scene. Now you have one homogenous pace and

the play can do with some differentiation. Hamlet last year was very good

in that respect, small scenes would rush along, but when appropriate, a

character would take the time to approach a soliloquy at a slower pace and

accelerate from there. Differentiation in pace can be so very effective but

this Macbeth is too uniform in that respect.

Very focused on the language, on telling the story. I never would have

thought Macbeth has such richness and beautiful lines. The witches relish

their lines and their rhythm! I liked Lady Macbeth, the speech "unsex me

gods..." starts slowly, more a request than a demand. No hysterics and no

histrionics. Very clear, very moving. Very, very involving, because you

actually LISTEN to what the characters say! I loved the way no one gets

hysterical, as in some absurd stagings I've seen. I hate it when the

constant ranting and raving explodes the words into bits; when volume has

to act as a substitute for intonation; exaggerated passion replaces

simplicity, and therefore sincerity. Or should I say "intelligence" ?

Well...

Last season it was especially Jasper Britton that made this unique

connection to the audience you have at the Globe. To speak directly to the

audience, to make them laugh, move them, scare and surprise them, to play

with the melody of the language; what a terrific Caliban he was! But this

year I think the director has restrained him too much. He is sarcastic with

the lines sometimes, fine. He is withdrawn and pragmatic at other scenes,

alright. But come on! What happened to the beautiful tightening and

releasing of the dynamics with which he fascinated us last year? Let's wait

and see how he changes over the season.

Currently Macbeth is re-rehearsing and will resume next weekend. I am very

curious how this play will transform until September.

This is one play well worth returning to many times....