mon 22/07/2024

Macbeth, BBC Four | reviews, news & interviews

Macbeth, BBC Four

Macbeth, BBC Four

Patrick Stewart lets slip the dogs of war in electrifying telly-isation of the Scottish Play

Family plot: The Macbeths (Patrick Stewart and Kate Fleetwood) prepare for regicide

Via the Chichester Festival and acclaimed runs on Broadway and in the West End, director Rupert Goold's Macbeth has made a sizzling transition to television. Set in an anarchic, war-torn Scotland and suffused with imagery of murder, torture and Stalin-style purges, it placed Patrick Stewart's thunderous central performance in a spinning black hole of evil, into which he was remorselessly sucked as the action developed.

We saw Macbeth steadily torn apart by a maelstrom of ambition, conscience and destiny, the latter revealed in regular bulletins from the flesh-crawlingly sinister Three Witches. Nonetheless, even as torrents of spurting blood began to surge through the action like the Severn bore, Stewart never quite let us lose sight of the brave and honourable qualities that once seemed to mark out Macbeth as a true leader, rather than a natural born killer.

There were some echoes of Ian McKellen's film of Richard III, set in a Fascist 1930s England, but Macbeth's supernatural overtones make it particularly well suited to drawing out interiorised themes of damnation and delusion. Apart from some battle scenes and crumbly newsreel footage of Soviet armies marching through Red Square, the action was mostly located in a network of claustrophobic white-tiled bunkers and tunnels, which could have been an abattoir or a Victorian lunatic asylum. The scene was set with a maimed and bloody soldier being wheeled past on a gurney, just able to gasp out news from the battlefield, and the witches materialised as nurses in a hospital for combat casualties. However, rather than acting as angels of mercy, they briskly euthanised the wounded man and then ripped out his heart for their ghastly black-magic rituals. The "hubble, bubble" scene was delivered as a mutated rap, with an electronic soundtrack and jerky, processed video.

MacStalin_smallIf the production had a flaw, it was the slightly pallid nature of the supporting roles. In his early appearances Macduff (Michael Feast) came across as a fawning equerry rather than a significant political player, so lacked the necessary voltage to carry off his apotheosis as the implacable avenger of his murdered wife and children who eventually hacked off Macbeth's head. Martin Turner's Banquo was honest and upstanding, but when he reappeared as the ghost at the banquet, he looked more like the chap from next door who'd had an embarrassing accident with a pot of red paint than Macbeth's supernatural nemesis. Still, setting Banquo's murder in the rocking carriage of a clattering steam train was a masterly stroke, somehow evocative of both wartime Britain and revolutionary Russia (Macbeth succumbs to the bourgeois cult of personality, pictured below).

There was a glimmer of light relief from the somewhat indistinct character of Ross, a witness to several critical scenes without ever being much more than a glorified messenger. Here, he was drolly handled by dressing up Tim Treloar as a Woody Allen-like neurotic in trenchcoat and spectacles, and his terrified hysterics in the banquet scene helped to highlight Macbeth's descent into irrationality. Suggestions of Hitler in his bunker, surrounded by trembling sycophants, sprang to mind.

But Stewart's effortless command of the drama powered the piece like a giant turbine, never more grippingly than in the "dagger" soliloquy, where he added an unnerving feral whoop to "wither'd murder, alarum'd by his sentinel, the wolf,/ Whose h-o-o-o-w-l's his watch". In his heart-of-darkness relationship with Lady Macbeth (Kate Fleetwood), her raven-black hair and harshly lit facial features were elemental signs emphasising her implacable willpower and ambition on Macbeth's behalf. However, while it was her tragedy to be devoured by the guilt which drove her to suicide, Macbeth finally appeared liberated by the chance to revert to his warrior self and fight to the death.

Dazzling stuff indeed, and surely a milestone for the Bard on the box. Why, then, did the BBC blow the bottom out of its ratings prospects by scheduling it directly against the X Factor finale? So foul and fair a day Shakespeare-lovers have rarely seen.

A milestone for the Bard on the box, but why did the BBC sabotage its ratings by scheduling it against the X Factor finale?

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Many marvellous things in this production; the portrayal of Macduff by Michael Feast was one of the most memorable. His prolonged (and much needed) silence at receiving the news of the murder of his family was fantastically well observed.

confusing,the production was also boring. had it not been for the words themselves i would have turned the tv off . thank goodness my 14 year old son could'nt be persuaded to watch ( having enjoyed taking part in his primary school's version ) . so dissapointed .

Wonderful gripping production!! Michael Feast as Macduff is probably the best I have seen as was Kate Fleetwood's Lady Macbeth. I loved the Witches Hubble Bubble sequence - a wonderfully new take on such a quoted section of Shakespeare. Patrick Stewart is obviously very well versed in Shakespeare and his Macbeth was fabulous (love the howl in the Dagger scene) although his Prospero will always be my favourite performance of his. I now have to get tickets for Chichester!

This was excellent tv drama and no stops for adverts thank goodness. Maybe the writers of Coronation Street's last performance should take note.

Fantastic production - rare to see an adaptation for TV so well done. Kate Fleetwood stole the show - blew Patrick Stewart off the screen, and the witches were warped straight from Doctor Who - which is a compliment BTW. The only flaw for me was that Patrick Stewart is too old for the part, and great actor though he is, I always felt his acting too self-conscious. I would have preferred a younger, darker Macbeth who would have taken a cue from Kate's much more modern, and searing, portrayal.

Boring, Jane, it surely was not. But...a primary school Macbeth? Whatever next? Would that by any chance be a school for the children of brutal careerist parents?

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