Liverpool Everyman Theatre: Macbeth Review

As the final production before the Everyman undergoes major redevelopment, Gemma Bodinetz's Macbeth was one that provides a fitting farewell. The audience are presented with a dark, disturbing and capitvating interpretation of the tragedy which sees Macbeth's unlawful and blood thristy efforts to secure the throne as King of Scotland with the help of his manipulative and vindictive wife, Lady Macbeth.

The cast includes the Liverpool born and critically acclaimed actor David Morrissey. His role as Macbeth has been highly anticipated due to his attachment to the city and the fact that began his acting career through the Everyman Youth Theatre. Lady Macbeth is played by last minute replacement, Julia Ford, who took the role after Jemma Redgrave was forced to withdraw due to 'personal reasons'.

As the play begins, the set design and lighting creates the perfect atmosphere: an instant sense of doom and distress. A winding staircase with a hidden room is used for Macbeth to commit the murders of King Duncan and his men whilst accomodating Lady Macbeth as she descends into her insanity. There are rusty doorways and leaking pipes as well as a frequent flashes of lightning when we encounter characters in outside scenes, such as The Three Witches. As for costumes, in an effort to update the play for the modern audience, characters were dressed in what seemed to be an intriguing choice of WW2 inspired clothing.

David Morrisey certainly does live up to expectation. Having worked as part of the Royal Shakespeare Company, he really executes the words of Shakespeare with conviction and passion, particularly during the many soliloquies he has to contend with.  Morrisey's Macbeth allows for the audience to feel sympathy for a man who has to endure the domineering and merciless nature of his wife. Essentially, we see him as a victim of influence even though he is a criminial. The internal suffering and torture that Macbeth experiences is played really well by the actor.

Julia Ford as Lady Macbeth is less convincing. Surely one of the more powerful female characters that Shakespeare has written, in contention with Cleopatra perhaps, there just is something missing. Bodinetz's seems to place her as parasite, sometimes lurking in a corner ready to trap her beloved. This was fair enough but Ford is just too soft and feminine. If Shakespeare was trying to challenge the weak, submissive female stereotype with Lady Macbeth, then Ford didn't seem to embrace it as fully as she could. The agression is what lacks from her performance. It seems like she needs to be much more rougher and tougher with her physical actions and how she speaks. Even her descent into madness was disappointing. It's a shame that she doesn't cut it.

Overall, though, a really striking and provoking production- one that the theatre can be really proud of as it begins a new era.

Macbeth runs until 6th June 2011.