Macbeth – Gaiety Theatre – Review

Druid’s production of William Shakespeare’s ‘Macbeth’ – Part of the Dublin Theatre Festival

Dates – 25 Sep–5 Oct
Photos by Ros Kavanagh

This production is by Duid Theatre company, and forms the centrepiece of their 50th Anniversary celebrations, with the company starting in 1975. The production premiered at the Galway Arts Festival in July of this year. It has a short run in the Gaiety Theatre, Dublin, as part of the Dublin Theatre Festival.

Macbeth was first performed in 1606 and tells the story of a power-hungry Scottish general and his wife who conspire to carry out treason and kill the King, as he sleeps under their roof. This fiendish deed does not go unpunished as we wait for the new King to get his comeuppance! I doubt many will attend without a passing knowledge of the text, although there were some young faces in the audience on opening night!

The production has many of the Druid stalwarts, with Marty Rea (Macbeth),  Rory Nolan (Banquo) and Garrett Lombard (Ross) all featuring. There is an unusual casting decision of Marie Mullen as Lady Macbeth. In an age of blind casting, it would be hard to argue that it wasn’t appropriate, and Marie was excellent in the part.

The set design by Francis O’Connor gives us the stone walls of a castle on either side, with doors on the back wall and a dirt floor. There are strong LED lights above with three linear bands. One nice touch is that there are some prize seats positioned on either side of the stage, in full view of the other audience members! The actors often turn to these audience members during their quiet moments on stage, looking for their approval.

There is an attempt to make the production quite visceral in the barbaric age it is set. Blood flows from the various protagonists as they fall to the floor. It is smeared onto their hands and faces. The floor of the stage is covered with soil, and a barrel at the corner of the stage is filled with water, where the characters wash and drink. There is no element of cleanliness as they live close to nature.

There are some impressive stylistic moments, with panels at lower levels of the stage walls, allowing characters to creep and crawl out onto the stage. One moment that is always difficult for productions is the movement of Birnam Wood, and this was less successful, but it did keep in line with the overall look of the piece. The three sisters were hooded and hissed at the Macbeth, with hunched backs and outstretched arms. Overall, the aesthetic was very strong as we are transported to the Medieval age, added to by the impressive lighting (Colin Grenfell).

The focus of Druid is always on the acting. The production allows several new names to come to the fore, with Liam Heslin particularly catching the eye in several parts, including Macduff. Marty Rea shows the necessary conflicted nature of Macbeth, as he battles his inner demons early on in the piece. Marie Mullen as Lady Macbeth is a powerful and unyielding force, urging her husband’s hand in a show of strength and desire. Very few theatre companies make it to 50 years of age, and this is a fitting production to mark Druid’s movement into its fifth decade.

Cast:
Second Witch, Gentlewoman: Caitríona Ennis
First Witch, Malcolm: Emmet Farrell
Macduff: Liam Heslin
Duncan: Seán Kearns
Ross: Garrett Lombard
Third Witch, Fleance: Pattie Maguire
Lady Macbeth: Marie Mullen
Banquo: Rory Nolan
Donalbain, Lady Macduff: Rachel O’Byrne
Macbeth: Marty Rea
Lennox: Cathal Ryan

Creative Team

Director: Garry Hynes
Set and Co-Costume Design: Francis O’Connor
Co-Costume Design: Clíodhna Hallissey
Lighting Design: Colin Grenfell
Sound Design: Gregory Clarke
Composer: Conor Linehan
Casting Director: Amy Rowan
Hair Design: Siobhán Patterson
Make-Up Design: Michelle Ruane
Associate Director: Sarah Baxter
Assistant Director: Lianne O’Shea