Show Review: Macbeth (An Undoing) at the Malthouse Theatre
Zinnie Harris’ substantive reflection of society across the centuries delivered as a visual feast
Going into the Malthouse for Macbeth (An Undoing), I assigned myself one specific task to accomplish by the time I walk out of the theatre: to figure out what it is about Macbeth that speaks to playwrights and drives them to keep making new tweaks and adaptations even after 400 years. In my particular case, appreciating Shakespeare and his works without being emotionally attached to it sets me free of any inclination to reject whatever a new adaptation is offering. We can have another talk when a new Sondheim adaptation arrives, but let’s take it one thing at a time.
Stepping into the theatre, the giant set immediately tells you that this play is to be taken seriously. But then the antics with which they open will amuse you — and if you were me, no matter how unsure you are about the show that you are about to experience, the moment they show clever wit, you sit back and prepare to receive. My initial thought after they wrapped the first act was how the set is undeniably its own character, almost like a silent narrator who allows you a peek into pieces of the story that comprise the fuller picture. It guides the audience to follow the journey of how everything came to be. The optimisation of their storytelling tools in this production is nothing short of commendable — thanks to director Matthew Lutton’s vision.
Story-wise, I can see how this depiction of a woman in power might arouse a debate on whether or not a woman’s capability to carry out ruthless violence determines her adeptness in a position of power; and whether or not it fits into the kind of feminism that we seek today. However, I don’t think that’s the most pressing matter in this production. For me, this adaptation speaks to the constant discrediting of women, regardless of their capability to successfully orchestrate a ‘project’ to successful completion. It begins with the original play, written in the 17th century about 11th century Scotland, with Lady Macbeth sidelined shortly after Macbeth becomes King. For over 400 years, that’s the way multiple generations see her: An almost Great Conqueror — one who had a strong start but was reduced to a fragmenting wife in the end. In this new adaptation, even as this alternate, high-functioning Lady Macbeth has done the best to her ability to sustain the power by tending to both the kingdom’s official business and her fragmenting husband as she deals with her own paranoia, the world still finds a way to sideline her somehow.
Her own court keeps referring to her as ‘King’, as if they don’t have the slightest clue on how to respond to leadership if it does not arrive in a male body. Moreover, even in this modernised adaptation, this conjectural Lady Macbeth still seems ill-fitted in our current society’s idea of feminism. Harris has successfully made her version of Lady Macbeth too much and not enough at the same time — an astute encapsulation of what feels like a universal female experience. She exercises too much power; yet is still not enough to be acknowledged as a powerful ruler in her own right. Moreover, as Harris treads the line between the play and reality throughout the show, it makes one reflect on why it feels like our current reality shares an eerie similarity with a fictional world from ten centuries ago. This adaptation confronts us with the elusive progress when it comes to welcoming women into a traditionally male-dominated arena. It challenges the audience to see if they feel differently about Lady Macbeth doing the exact same thing that Macbeth does in the original version.
As for the cast, it speaks volumes that the set’s potency does not overpower their performance. The chemistry between various mixes of characters shines in intimate scenes, and the stage comes alive in scenes featuring the full ensemble. Bojana Novakovic deserves all the flowers for her moving portrayal of Lady Macbeth — portraying a woman who exists in different time periods across the span of a thousand years and making her struggle more relevant than ever is no small feat. Johnny Carr gave Macbeth a heart and humanity; Jessica Clarke as Lady Macduff is clever and charming. Along with Rashidi Edward as Banquo, Khisraw Jones-Shukoor as Lennox, Macbeth’s court is likable even in their flaws. Casting Tyallah Bullock as Malcolm is another admirable choice as it further pushes the boundaries of gender norms. Natasha Herbert as Carlin — the first of the three Weird Sisters to appear — plays the narrator, effectively setting the context of the play and blurring the line between the play’s universe and our reality from the get-go. The artistic vision is executed beautifully — just like the set, you can feel that the costumes are thoroughly thought-out and well-crafted. The modern flair in the costumes still feels appropriate to the story — elevating the visual element of the production once again as they somehow close the gap between 11th century Scotland and our current reality.
With this new adaptation, the audience is getting one half of the Macbeth they know and one half of a Macbeth that could have been — making it one whole of a great entertainment that serves both ends of the audience spectrum: the classic Shakespeare lovers and the theatregoers who seek fresh originality. Macbeth (An Undoing) has successfully shown the audience how ironic it is that a play as old as Macbeth can still feel relevant to our society, even with a modern twist. I’ll take that as a possible answer as to why Macbeth still speaks to today’s playwrights. All that aside, I, for one, wouldn’t mind watching any play — including more Shakespeare adaptations — with a heart that’s in the right place and a vision this well-executed. The sophisticated visual delicacies alone would have been a great reason to enjoy the show; but the fact that it sends the audience home with materials for reflection about society; about our own biases, and conveyed that message through a brilliant performance makes this show both a pleasant and substantive experience.
Macbeth (An Undoing) is playing at the Malthouse Theatre through July 29.
