Abigail Graham’s production of Macbeth presents a compelling central idea—a competitive and youthful society where children are ever-present.

However, despite this shrewd and solid foundation, the play suffers from an excess of concepts and performances that fail to resonate with the audience.

Max Bennett’s portrayal of Macbeth:

Max Bennett’s Macbeth impresses in his battle attire, exuding strength and martial prowess.

However, his transformation into a Sunak-slim dinner suit leaves him looking more like an Apprentice contestant or an eager estate agent chasing a big sale.

His immaculate appearance, buoyant walk, and too-quick grin only serve to mask his underlying sense of inadequacy.

Macbeth’s emotional vulnerability:

Throughout the play, Macbeth’s emotions are easily swayed, whether by his wife, Lady Macbeth (Matti Houghton), who comes across as somewhat strident, or by supernatural forces.

Some of his lines feel out of place, resembling locker-room asides rather than solemn reflections.

Unfortunately, Bennett’s portrayal lacks depth, and his rendition of the famous “tomorrow and tomorrow and tomorrow” speech feels rehearsed and lacking in genuine sentiment.

Tragic background of the Macbeths:

Early on, the play reveals that the Macbeths have experienced the loss of a child, setting them apart from their contemporaries who have precocious heirs by their side.

Aaron Anthony’s commanding Macduff and his pregnant wife, along with their young son dressed as Spider-Man, are intricately woven into the story from the outset.

Gender-blind casting and the witches:

While Graham’s production introduces a suffocatingly enclosed world, it also causes confusion with its gender-blind casting.

Three men in hazmat suits and grotesque masks play the witches and other traditionally female roles, raising questions about their role in society and the narrative’s tone.

Tone and inconsistency:

The tone of the play fluctuates, oscillating between horror and dark comedy.

The murders are depicted as horrific, but the cauldron scene is played for gruesome laughs.

Houghton’s intense portrayal of Lady Macbeth’s madness is bookended by two comic caricatures, further contributing to the inconsistency in the play’s atmosphere.

Additionally, the rewriting of the Porter’s speech falls short of providing humor, deviating from the original intent.

Child actors and distractions:

Despite its flaws, the child actors deliver noteworthy performances, adding to the play’s strength.

Nevertheless, the production is plagued by distracting elements, such as corpses being repeatedly trundled past the main characters on morgue trolleys, a moaning black-clad chorus appearing and disappearing, and Macbeth’s attire resembling an exaggerated King Charles.

Set design and interpretations:

Ti Green’s set features an inverted tree with bare, silver-painted branches, symbolizing an assault on nature and the disruption of order—a reference to the play’s themes.

However, the stage being wrapped in creased, grey material remains a puzzling choice.

Conclusion:

Despite its potential, Abigail Graham’s Macbeth falls short in fully engaging the audience.

While some performances stand out, the play suffers from inconsistencies in tone and execution.

Nonetheless, there is hope for future adaptations of the timeless tragedy. The production runs until October 28th at the Globe Theatre.

Abigail Graham’s Macbeth at the Globe Theatre: A Review

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