Rupert Goold’s production is clearly non-standard Shakespeare fare and the first inkling that you get is when you sit down in front of Anthony Ward’s gaunt and clinical Soviet set, reminiscent of a mental hospital or seventies comprehensive school.
Further proof is demonstrated by two of the stranger characters: a larder fridge, which is given a sinister aura by use of the soundtrack of an ageing fluorescent light; and a serving elevator, which serves as the portal for all the more important entrances. Both play supporting roles throughout the production that are quite simply chilling.
More menacing still however are the three witches who open the first scene portrayed as matrons, the transformation betwixt heralded by a cold change of light and sound… the hairs on my neck bristled at this and each subsequent transformation.
Patrick Stewart’s portrayal of Macbeth is utterly superb and his characterisation of the subtle transformation from warm-hearted to evilly-possessed is inspired, matched competently by Kate Fleetwood’s scheming and troubled Lady Macbeth.
This is a true contemporary masterpiece and if you like Shakespeare (and can get hold of tickets between now and the 1st December close) is a totally-must-see production.