Stage: Fair is foul and foul is fair

FLABBERGAST THEATRE'S 
The Tragedy of Macbeth
by William Shakespeare
with Henry Maynard, Briony O'Callaghan, Simon Gleave, Daniel Chrisostomou, Vyte Garriga, Paulina Krzeczkowska, Dale Wylde, Kyll Anthony Thomas Cole
director/designer Henry Maynard
music Adam Clifford
Southwark Playhouse Borough • 14.Mar-8.Apr.23

Like an assault on the senses, Flabbergast takes on Shakespeare with a high-volume storm of mud and blood. It's a purely visceral production that will engage fans of the Scottish play with its earthy sensibilities and quirky touches. On the other hand, those unfamiliar with the material will find it almost impossible to follow, as the dialog is extremely difficult to hear and the narrative is thoroughly blurred by the on-stage chaos.

This is Shakespeare's familiar story of ambition and paranoia, as Macbeth (played by company founder Maynard) and his power-hungry lady wife (O'Callaghan) conspire to kill King Duncan (Chrisostomou). Macbeth assumes the throne, but the couple is consumed with fear that someone will try to take them down. They proceed to kill those closest to them in an attempt to protect their rule, but this sparks a civil war. 

All of this takes place in a whirl of activity on the floor of the theatre, surrounded on three sides by the audience. The violence is intense, including against children (who are evocatively performed using puppetry), with wine and ink spilled in bloody puddles. Silly comical interludes emerge out of nowhere, with performers mugging playfully at the audience before diving back into the epic tale of betrayal and murder.

Wearing floor-length skirts and increasingly grubby attire, each actor inhabits multiple roles, and since it's so difficult to hear the dialog, this makes it even trickier to keep track of characters and plot-lines. As does the repeated technique of cast members speaking words in unison, which sounds cool but is impenetrable. Even so, the surge of energy and passion is vividly felt, and there are some genuinely wrenching moments along the way, such as when Macduff (also Chrisostomou) learns that his wife (a soulful Krzeczkowska) and children have been killed on Macbeth's orders.

Obviously, this play has real power, and has resonated strongly for centuries as it grapples with enormous themes. The three witches that drive the action are vividly rendered here by the cast's three actress, with shrieking voices that chill the soul. And there are plenty of other loud screams, bangs, thuds, raucous songs and lively choreography to keep things sparking. None of this is terribly original, but it looks great. Although by eliminating the softer textures, it feels like little more than sound and fury.

For details, visit SOUTHWARK PLAYHOUSE >

photos by Michael Lynch • 16.Mar.23