The infamous and consequential tale of political ambition, Shakespeare‘s tragedy Macbeth, renowned for its quietly sinister, psychological deterioration of both leads, articulates the ascension of, and inevitable downfall of a power hungry general – the basis of which can be traced back to a prophecy expressed by the famous three witches.
Founded in 1987, Big Telly Theatre, founded by director Zoe Seaton has established itself as one of Northern Ireland’s most respected and long running theatre companies – their work spanning multiple sectors such as tourism and heritage. Adapting Shakespearean tragedy Macbeth for the digital stage, the production follows the director’s succession of well received online productions, her most recent – Shakespeare’s The Tempest. Ahead of the productions online showing as part of this year’s Belfast International Arts Festival, Zoe tells us more about her adaptation of the classic.
After Der Fall Meursault – Eine Gegendarstellung and The Assassin, Iranian director Amir Reza Koohestani returns to the Kammerspiele with his own version of the Scottish play.
Packed full of classical charm and dynamic vocal artistry, Macbeth takes audiences on a journey through Scotland’s civil war, yet adding the rich flavour of Verdi’s operatic genius. The English Touring Opera, conducted in this performance by Gerry Cornelius, incorporates the bloodthirsty and murderous Shakespearean favourite and balances it alongside the bellowing yet crisp tones sang by the vocalists.
Munich Kammerspiele – Season 2018/19
Justice is “out” and immortality is “in”.
Artistic Director Matthias Lilienthal presented the new season together with directors Christopher Rüping, Susanne Kennedy, and Trajal Harrell in June. Whilst the press were enjoying Lebanese pizza and wine, Lilienthal announced thirteen new productions for 2018/19 of which seven would be world premieres.
Fake blood and papier-mache decapitated heads at the ready for this pop up theatre exclusive of one of Shakespeare’s most well known and goriest plays, Macbeth. Shakespeare’s Rose Theatre encapsulates the atmospheric openness present within that of The Globe in London, with its groundling style standing seats and tapestry painted stage ceiling, shimmering from the light of the open top roof. Actors voices echo around the space creating real drama, but even further drama when they launch themselves upon innocent audience members, unaware armed soldiers were using them as shelter from the nearby enemy.
Rufus Norris‘ Macbeth, his first Shakespeare in 25 years, brings together National Theatre stalwarts Ann Marie Duff and Rory Kinnear as the doomed central couple. Unfortunatly Norris’ audacious interpretation is hobbled by confounding direction and a strangely vague sense of the world it inhabits.
Courtesy of Brinkhoff and Moegenburg.
Samurai Macbeth? The words of the bard spoken in Japanese? I was instantly intrigued, if a little sceptical. Would a play in that asked me to read surtitle engage for almost 3 hours? Would the text be able to support such a radical departure in the setting? Will there be anything more to this production than just a change in aesthetics? 5 minutes in I receive an empathic yes, yes and yes. From the inciting scene with the three male geisha witches and Macbeth, it becomes clear that this is a special production and one of the most beautiful spectacles I’ve seen all year.
Courtesy of the Barbican.
