Macbeth at the RSC ★★★★★

The importance of Daniel Raggett’s interpretation of Macbeth cannot be overlooked in the current state of a divided society. Set against the backdrop of a culturally transformative, gang-ruled Glasgow in the 1990s, Raggett’s production brings a secretive and bold tenderness to a story of ambition, violence, and power – all within a working man’s club.

With the RSC’s previous production of Macbeth being just two years ago, this new interpretation of the story is one that is bound to have you peeping through your fingers. Raggett’s production perfectly keeps alive the hauntingly tragic story of overarchingly ambitious, power-driven lovers.

Macbeth needs no introduction. But this version begins with Banquo in a bomber jacket (Nicholas Karimi) and Macbeth (Sam Heughan) in a gold chain, victorious in what we can assume to be an old-school Glaswegian gang fight. At the sight of three hardened yet ethereal-looking Scottish witches, Macbeth is informed of a future that fills him with such ambition, it’s his hamartia. By his side, the cunning Lady Macbeth (Lia Williams) coerces her nervous husband to kill King Duncan (Gilly Gilchrist). Macbeth grows increasingly paranoid and increasingly bold, and Lady Macbeth unravels. A killing spree ensues. At a dinner party decorated with fish&chip bags, Macbeth sees Banquo’s ghost. The painfully gradual demise of the Macbeths is in full swing.

As his enemies grow closer, Macbeth believes himself invisible.

This brutish urban take on Macbeth puts the overall theme of ambition and transformation in a new and refreshing light.

Sam Heughan as Macbeth can be summed up as dashingly psychotic. His debut at the RSC is nothing short of spectacular. His presence on stage is invigorating and terrifying at times, complemented astonishingly by Lia Williams’ physical frailty and emotional strength. Williams is a standout Lady Macbeth because she cuts the melodrama. As she breaks down, she is so incredibly controlled and speaks to herself like she’s just doing the dishes. She captures such an unsettling energy, which juxtaposes easily with her party animal character in Act I, that it must be called out and applauded. Their chemistry and energy together are undeniable and bold. They have a history of working together, and seeing this in action choreographed by Raggett is well worth experiencing. From moments so tender in the way they intertwine themselves to the fear-driven, guilt-riddled combat they perform in the round, every single movement is choreographed to perfection. Heughan’s first ever stage appearance was at the Lyceum Theatre, Edinburgh, where at age 18, he played ‘Spear Carrier #2’ in a production of Macbeth. As he has climbed the ranks, it is safe to say he and Williams spearhead this production with balletic chemistry.

If you enjoy being plunged into the action, you’ll love the experience of watching such an enormous play unfold in the chilling intimacy of The Other Place studio theatre in Stratford-upon-Avon. The creative team deserve enormous applause for the atmosphere they were able to create. From auditory overload to perfect silence, the composer (Tommy Reilly) and sound designer (Tingying Dong) do an excellent job in dumping you into the drama, whether you like it or not! The orchestration is solid. The blending of composed strings piped through overhead speakers into the grittier sound of a guitar on the bar radio works effortlessly.

Then, there is the set. Designer Anna Reid got it spot on. Laid out like the inside of a bar, Reid’s staging is engaging, urban, and necessarily claustrophobic. When violence happens, it’s uncompromisingly brutal. With a few tables, chairs, a staircase and a bar, Reid has proved cleverly that the key to an intriguing stage is in the details. From the children eating scampi fries and piercing holes in juice boxes to Lady Macbeth ashing a cigarette in a metal ashtray, the gritty realism of 90s Glasgow accessorises the stage naturally.

Reid, also working on costume, nailed it. A tartan-lined bomber jacket dresses the outline of a noble Banquo. With wine glasses and pocket knives as their weapons, the detail in Reid’s designs is very cool. Seeing King Duncan with a scar from an infamous Glasgow smile is enough reason to go and watch the show. Lady Macbeth’s first appearance donned in a leopard-print fur jacket signified ambition within a different context – the working class in 90s Glasgow.

The lighting designer also touched on key details that really showcased the character stories. Ryan Day’s decision to have spotlights coming through the ceiling fans and a lampshade to illuminate the grave faces of the Macbeths at the top of the stairwell were both commendable additions to an already riveting sensory experience.

Amongst such a strong cast, the actors playing Banquo (Nicholas Karimi), Malcolm (Calum Ross), Macduff (Alec Newman), and Father (Christopher Patrick Nolan) are all standouts too. Karimi is able to portray a new emotion in every step. Ross captures such guilt and anguish in his eyes alone. Newman brings the necessary inner strength to play Macduff, and Nolan brings the comic relief at the best of times. They all deserve unquestionable praise.