Reviews of A New Kind Of Wilderness, The Marching Band, Good One and Magic Farm by MARIA DUARTE, ANDY HEDGECOCK and MICHAL BONCZA
Latest editorial
Speed sabotages subtlety
GORDON PARSONS sees a rapid-fire production of Macbeth that allows no pause for thought
SCOTT ALSWORTH foresees the coming of the smaller, leaner, and class conscious indie studio, with art as its guiding star
MARJORIE MAYO recommends an accessible and unsettling novel that uses a true incident of death in the Channel to raise questions of wider moral responsibility
MIK SABIERS wallows in a night of political punk and funk that fires both barrels at Trump
Reasonable radicalism, death in Abu Dhabi, locked-room romance, and sleuthing in the Blitz
SIMON DUFF recommends a new album from renowned composer and oud player Anour Brahem.
JAMES WALSH has a great night in the company of basketball players, quantum physicists and the exquisite timing of Rosie Jones
Macbeth
Royal Shakespeare Theatre
Stratford-upon-Avon
UNDENIABLY, there's an operatic quality to all of the Bard’s tragedies. The individual actor playing the protagonist controls the impact of the play and Christopher Eccleston's Macbeth is no noble Scottish captain but rather an unimaginative, bullet-headed northern squaddie.
That is, until he meets the weird sisters who, in Polly Findlay’s production, are three seemingly delightful little girls playing “innocently” with their dolls.
With the possibility of seizing the crown embedded into his mind, Macbeth can’t wait for the wheelchair-bound, geriatric Duncan to leave the scene naturally. Speedily, he gets on with seeing the old man off.
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