With audience members required to wear headphones throughout the performance, the production’s much-debated decision to use binaural sound gives laser focus the the inner workings and ever-darkening psyche of the titular character.
Gareth Fry‘s exceptional layered and dimensional soundscape offers a formidable intimacy that goes beyond the label of “immersive”. That the performers are afforded a full range of vocal expression, uncoupled from the need to project, gifts this take on Macbeth a rare closeness to the heart of the drama. The conspiratorial conclaves following Duncan’s death are allowed hushed tones which mean potential enemies cannot hear them but we, the audience, can. Soliloquys find whatever volume fits their purpose. Cush Jumbo‘s unsex me here monologue moves from the bombastic to the eloquently conversational as Lady Macbeth strategises with herself what must be done to achieve their bracketed ambition.
The creativity of the binaural landscape injects fresh perspectives into one of Shakespeare’s most performed plays. When the murdered Banquo appears as a ghost at the Macbeths’ feast, traditionally we see the scene from Macbeth’s perspective. A bloodied actor sits at the table which the assembled guests purportedly fail to see. The ingenuity of this production’s sound design means we see what the assembled gathering see (i.e. nothing) but we hear what Macbeth sees (a threatening, guilty call back to the murder he has decreed).