Red Squash Theatre’s Macbeeth is, as the title suggests, Macbeth – just not quite as we know it. In keeping (for the most part) with Shakespeare’s intended plot, the play is still as murdery as ever; the difference is in this version there are a lot more laughs, along with a distinctly North American sounding Macbeth, a very questionable beard, and a man called Derek. Oh, and there are just three actors playing – well, everyone.
As you might expect, it’s all extremely silly (in fact, a voiceover before the show warns us of “interpretations of Shakespeare some audience members may find infantile”) and more than a little chaotic – but before any Shakespeare scholars runs for the hills in horror, a word of reassurance: the three actors all clearly not only know what they’re doing, but do it very well. Though heavily edited to fit the whole story into just an hour, all the essentials of the script are there and delivered flawlessly by Rory Fairbairn (who plays all the witches, Duncan and Macduff among a multitude of roles), Holly McFarlane (Banquo, Lady Macbeth, Malcolm and more) and Alexander Tol (Macbeth, Fleance and others). It might be Shakespeare lite, but it’s very much still Shakespeare; the comedy aspect comes not from changing the story but from taking to extremes what’s already there.
This includes the characters – Holly McFarlane and Alexander Tol as the Macbeths in particular take their roles of bossy wife and cowed husband extremely seriously, and Rory Fairbairn’s kindly but blissfully oblivious King Duncan is also a hit – as well as the story itself, which is, after all, essentially one long killing spree based on the word of three strange women in the woods. But the majority of the humour springs from the production itself, which plays throughout on the multi-roling of actors, and the rudimentary set and props they have to work with (the appearance of dead Banquo at Macbeth’s feast is particularly creative). There are also a few jokes at the expense of the actors, which, Macbeth’s accent aside, aren’t really borne out in their very able performances – but this is a small quibble and certainly doesn’t mar the play’s unstoppable entertainment value.
If you’ve ever felt Shakespeare was a bit heavy, Macbeeth may well change your mind. While it undoubtedly includes some elements the play’s writer might have regarded with some suspicion (hello, magic eight ball) its heart is in the right place and the production still delivers on its promise of “95% actual Shakespeare”. Most importantly, it’s also great fun, bringing us organised chaos that doesn’t outstay its welcome and allowing its cast to showcase their talents for both comedy and tragedy. Highly recommended for an enjoyably silly night out.
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