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Macbeth (1999)
10th January
Stage Settings Seminar
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Macbeth (
1999
)
Directed By
Damien de Roche
Production Co-ordinator
Bill Pearson
Production Type
Nomads Production
Production Location
Main Theatre
Genre:
Shakespeare
User Rating:
(
5
/5 with 4 votes)
Flier Summary:
Synopsis
Macbeth and Banquo, generals in the service of Duncan, King of Scotland, are returning victorious from battle when they are hailed by three witches who prophesy that Macbeth will become Thane of Cawdor and then King of Scotland. The first part of this is soon fulfilled when Duncan rewards Macbeth's loyal service: encouraged by this, and playing on her husband's ambition, Lady Macbeth persuades him to murder Duncan while he is a guest at their castle. Malcolm, Duncan's son and heir, flees to England for safety. Macbeth, now King of Scotland, has Banquo murdered in an attempt to secure his own position, but Banquo's ghost appears to him at a banquet. Macbeth visits the witches again. They warn him to beware of Macduff, a noble who has also fled to England, but assure him that he cannot be harmed by any man born of woman. Macbeth orders the murder of Macduff's wife and children. In England, Malcolm and Macduff raise an army and march against Macbeth but he, armed with the witches' prophecy, believes himself to be invincible. As his enemies draw nearer, Macbeth learns that his wife is dead and, despite the witches' words, he himself is killed by Macduff. Malcolm is crowned King of Scotland.
Description:
Macbeth is the murkiest, bloodiest and most despairing of all the classical Shakespeare tragedies. I have always had an incredible fascination with the play, having studied it for A Level almost ten years ago (a horrifying thought!). In that time I have seen nine or ten versions of the play either live or on film and they have ranged from the bizarre and tedious to the absolutely spellbinding. Last year, having finally been given the go-ahead to let Shakespeare loose in East Horsley, I was amused to find that my wife Antonia had immediately hired a copy of 'The Curse of Macbeth'. I had always been aware of the theatrical superstitions concerning the play, but had never really understood them and I tended just to dismiss any mention as 'pretentious Luvvy nonsense'. To any sceptics out there, I recommend you hire a copy of this book too - it certainly made me think again. Anyway, the fascination only increased and undeterred I set out to present this masterpiece a little differently.
The play moves rapidly, yet has more soliloquy as a proportion of the drama than any other Shakespeare play. Incidentally there is also the highest number of on-stage fatalities. The incessant drama in Macbeth combined with its main themes of witchcraft, murder, ambition and manipulation make it the Shakespearean equivalent of an action/horror movie. As such I decided that this production needed to hit the audience straight between the eyes starting from the very first scene and continuing right through to the end, taking the audience on a rollercoaster ride. Pace and constancy of action was the primary objective. In this vein I decided to cut some of the exposition scenes, and also some of the much smaller characters who are used purely as story advancers, whilst ensuring that all the important information is still conveyed. As a result this has enabled me to work with a much smaller, tight-knit cast, several of whom double up their roles. Most of the first four Acts are performed in their entirety and Act 5 has been the biggest victim of the chop. It is said that Shakespeare was commissioned to write Macbeth by James the First in order to perform it in court to King Christian of Denmark only a few months later. This perhaps helps us to understand the nine rather disjointed scenes at the end of the play. To enable us to keep this constancy of action, the design of the set and its manoeuvrability comes to the fore.
As with all of Shakespeare's plays, part of their brilliance is that the themes he covered in the 16th and 17th centuries are still relevant in modern society. Therefore I haven't set this production in any specific time period. The bleakness and harshness of the set contrast with the modern eveningwear and again with the medieval swords and daggers; this I believe helps to create a feeling of timelessness. It creates a feeling that these events are as significant in the 21St century as they were in the 16th century. At the same time however it was important to keep this simple, as opposed to swamping the play with different periods in history. This production of Macbeth remains completely true to the text and has certainly benefited from the technical advancements of this wonderful new theatre. Enjoy the ride!
Damien De Roche
Production Dates & Prices:
(
Please note Booking Information
)
Date
Time
Members Price
Non-Members
Price
Tuesday 1st June 1999
8:00pm
Cast:
(in programme order)
Peter Forbes
... Duncan, King of Scotland
Gavin Bell
... Donalbain, Kings Son
Rob Bryant
... Malcombe, Kings Son
Tim Spencer
... Macbeth, General of the King's Army
Paul Evans
... Banquo, General of the King's Army
Steve Nankervis
... Captain of the King's Army
Phillip Griffith
... Macduff, Nobleman of Scotland
Steve Nankervis
... Lenox, Nobleman of Scotland
Paul Anderson
... Ross, Nobleman of Scotland
Antonia Farino
... Lady Machbeth
Jennifer Rainbird
... Lady Macduff & Servants
Elliot Copp
... Boy, Son of Macduff
Robert Kerr
... Boy, Son of Macduff
Gavin Bell
... Fleance, Son of Banquo
Brandon McGuire
... A Porter
Steve Nankervis
... A Messenger
Marina Norris
... Witch I
Naomi Brandon-Jones
... Witch II & Gentlewoman
Sarah Phillpot
... Witch III & Doctor
Crew:
(in programme order)
Damien de Roche
...
Director
Andrew Nice
...
Stage Manager
Alan V Wellstead
...
ASM
Jane Martin
...
Deputy Stage Manager
Bill Pearson
...
Production Co-ordinator
Roger Brandon-Jones
...
Set Design
Damien de Roche
...
Set Design
Roger Brandon-Jones
...
Set Construction
Stuart Bangs
...
Set Construction
David Armitage
...
Stage Crew
Zoe Triantafillou
...
Stage Crew
Robin Williams
...
Stage Crew
Graeme Campbell
...
Stage Crew
Roger Brandon-Jones
...
Revolve Co-ordinator
Andy Ashenden
...
Fight Choreographer
Tim Williams
...
Sound Operator
Damien de Roche
...
Sound Design
Phillip Griffith
...
Set Design
Alison Brandon-Jones
...
Lighting Operator
Brandon McGuire
...
Lighting Designer
Tan Benerji
...
Properties
Jacqui Day
...
Properties
Antonia Farino
...
Costume Design
Phillip Griffith
...
Photography
Diana Wins
...
Make-Up Artist
Phillip Griffith
...
Poster and Programmes
Joan Partridge
...
Prompt
Patricia Yehia
...
Front of House Manager
Judy Tweedale
...
Box Office
Recommendations:
Shostakovich: Lady Macbeth
Macbeth
Henry V / Hamlet / Macbeth [1989]
Macbeth (The New Penguin Shakespeare)
Macbeth (Penguin Popular Classics)
Verdi: Macbeth
Macbeth [1971]
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