REVIEW
Southend Shakespeare Company presents
MACBETH
by William Shakespeare
“By the pricking of my thumbs, Something wicked this way comes.”
Southend Shakespeare Company presents
MACBETH
by William Shakespeare
“By the pricking of my thumbs, Something wicked this way comes.”
For this year’s Open Air Summer production Southend Shakespeare Company are putting on one of Shakespeare’s most popular tragedies, Macbeth. Something of a change to their usual comedic fare and, perhaps, a somewhat heavy subject matter for a summer’s day viewing. Nonetheless their performance at Southchurch Hall on Sunday proved very popular with a satisfyingly large audience comfortably positioned in their own camping and deck chairs with prosecco corks freshly popped and glasses poured in time for curtain up. A wonderfully civilised and fitting way to spend an hour or so enjoying the Bard’s works.
One of Shakespeare’s most enduring tragedies, Macbeth tells the story of a celebrated Scottish general whose encounter with three mysterious witches sets him on a dangerous path. Spurred on by their prophecy that he will one day become king, and encouraged and aided by the fiercely ambitious Lady Macbeth, he commits a murderous act that triggers a spiral of guilt, paranoia and further bloodshed. As Macbeth clings ever more desperately to power, the consequences of his actions consume both himself and those around him, culminating in a gripping exploration of ambition, fate and the corrupting nature of absolute power.
With minimalist staging the actors have their work cut out to visually inform each scene, however, this is done with absolute clarity by every member of the cast as they each bring their characters to life through the direction of Cathy McAdam.
One of Shakespeare’s most enduring tragedies, Macbeth tells the story of a celebrated Scottish general whose encounter with three mysterious witches sets him on a dangerous path. Spurred on by their prophecy that he will one day become king, and encouraged and aided by the fiercely ambitious Lady Macbeth, he commits a murderous act that triggers a spiral of guilt, paranoia and further bloodshed. As Macbeth clings ever more desperately to power, the consequences of his actions consume both himself and those around him, culminating in a gripping exploration of ambition, fate and the corrupting nature of absolute power.
With minimalist staging the actors have their work cut out to visually inform each scene, however, this is done with absolute clarity by every member of the cast as they each bring their characters to life through the direction of Cathy McAdam.
There are some convincing performances all round and Lee Jones in the titular role certainly makes his mark within the SSC in this, his first, performance with the company. Tracey Anne Bourne gives Jones the opportunity to bounce off her own acting expertise with a portrayal of Lady Macbeth that is played by someone who totally appreciates what is required to take a character from the page to stage. They work well together and the couple’s dynamic also takes an interesting twist in this production, giving their relationship even more shockingly sinister depth.
The witches are perhaps more playful than petrifying in this version but still hugely watchable and it’s interesting how they interweave into the framework of the everyday action before they regroup as the weird sisters again. Katie Bysouth and Vanessa Osborn are wonderful to watch but having Matthew Willis play the third witch, with his flowing locks and long beard is great casting here and he is perfect for the role. Banquo’s “You should be women, and yet your beards forbid me to interpret that you are so” line certainly raised chuckles from the audience.
The Porter is the character that generally brings much needed light relief to the audience, in-between the bloody horrors that take place, and Dave Lobley fully embraces this role eeking out every comedic line with his hilarious drunken ramblings and witty observations. Again, a performer who clearly understands his Shakespeare giving lots of laughs for the audience.
Another great performance comes from Adam Mayhew as MacDuff whose stand out moment comes when he discovers the tragic news of his family’s demise; his angst and heartbreak pulling tightly on the audience’s heartstrings - there were a few tears.
The witches are perhaps more playful than petrifying in this version but still hugely watchable and it’s interesting how they interweave into the framework of the everyday action before they regroup as the weird sisters again. Katie Bysouth and Vanessa Osborn are wonderful to watch but having Matthew Willis play the third witch, with his flowing locks and long beard is great casting here and he is perfect for the role. Banquo’s “You should be women, and yet your beards forbid me to interpret that you are so” line certainly raised chuckles from the audience.
The Porter is the character that generally brings much needed light relief to the audience, in-between the bloody horrors that take place, and Dave Lobley fully embraces this role eeking out every comedic line with his hilarious drunken ramblings and witty observations. Again, a performer who clearly understands his Shakespeare giving lots of laughs for the audience.
Another great performance comes from Adam Mayhew as MacDuff whose stand out moment comes when he discovers the tragic news of his family’s demise; his angst and heartbreak pulling tightly on the audience’s heartstrings - there were a few tears.
My only quibble with this contemporary styled production would be the choice of some of the costumes. SSC are renowned for their often outstanding costumes but this production didn’t really deliver the usual flamboyant and professional flare that we have come to expect. However, the tartan theme worked well to distinguish rivals, reinforcing the play's Scottish setting.
That said, this is a production that certainly won’t disappoint the hardcore Macbeth fans. It’s a comfortable blend of traditional with bursts of originality that give it a fresh feel that will entertain old and new audiences alike. If the recent heatwave has left you longing to cool down, Southend Shakespeare Company’s Macbeth is guaranteed to send a shiver down your spine. This atmospheric open-air production is another reminder of just how magical Shakespeare can be beneath a summer sky — and why these annual outdoor performances remain one of the highlights of the local theatre calendar.
Review: Kim Tobin
That said, this is a production that certainly won’t disappoint the hardcore Macbeth fans. It’s a comfortable blend of traditional with bursts of originality that give it a fresh feel that will entertain old and new audiences alike. If the recent heatwave has left you longing to cool down, Southend Shakespeare Company’s Macbeth is guaranteed to send a shiver down your spine. This atmospheric open-air production is another reminder of just how magical Shakespeare can be beneath a summer sky — and why these annual outdoor performances remain one of the highlights of the local theatre calendar.
Review: Kim Tobin
Driven by ambition, Macbeth's pursuit of the crown takes him on a downward path to murder.
As darkness blots out his better nature his fated journey unravels with bloody consequences.
“Macbeth” is Shakespeare's darkest and most terrifying tragedy. Boldly set in the open air this exciting production promises to be an unmissable event.
Adults £10.00 Children £5.00
Advance Booking Not Required
Please Bring Your Own Seating
Cash Payments Preferred
CAST
Macbeth- Lee Jones
Lady Macbeth- Tracey-Anne Bourne
Banquo- Joel Arnold
Macduff- Adam Mayhew
Duncan- Mark Baker
Malcolm- Parker-Jace Martin
First Witch- Katie Bysouth
Second Witch- Vanessa Osborn
Third Witch- Matthew Willis
Hecate- David Lobley
Ross- David Goodger
Angus- Henry Hewett
Lennox- Aston Line
Lady Macduff- Helen Fisher
Young Macduff/Fleance- Rebecca Rainforth
Siward- Mark Baker
The Porter- David Lobley
Waiting Gentlewoman/Apparition- Emma Gilbert
Doctor- Ian Hart
Apparitions- Mark Baker; Helen Fisher; Emma Gilbert
Crew:
Director- Cathy McAdam
Assistant Director- Vanessa Osborn
Costume- Vanessa Osborn/Cathy McAdam
Sound Design- Vanessa Osborn/Parker-Jace Martin
Sound Operator- Liam Bailey
Stage Manager- Liam Bailey
Fight Arranger – Liam Bailey
Business Manager – James Carter
Advertising – Madeleine Ayres & SSC Pubsubcom
Props - Liam Bailey/Vanessa Osborn/Cathy McAdam/Tracey Peacock/Julie Carter
For more information about the SSC visit our website at
southendshakespeare.org.uk
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As darkness blots out his better nature his fated journey unravels with bloody consequences.
“Macbeth” is Shakespeare's darkest and most terrifying tragedy. Boldly set in the open air this exciting production promises to be an unmissable event.
Adults £10.00 Children £5.00
Advance Booking Not Required
Please Bring Your Own Seating
Cash Payments Preferred
CAST
Macbeth- Lee Jones
Lady Macbeth- Tracey-Anne Bourne
Banquo- Joel Arnold
Macduff- Adam Mayhew
Duncan- Mark Baker
Malcolm- Parker-Jace Martin
First Witch- Katie Bysouth
Second Witch- Vanessa Osborn
Third Witch- Matthew Willis
Hecate- David Lobley
Ross- David Goodger
Angus- Henry Hewett
Lennox- Aston Line
Lady Macduff- Helen Fisher
Young Macduff/Fleance- Rebecca Rainforth
Siward- Mark Baker
The Porter- David Lobley
Waiting Gentlewoman/Apparition- Emma Gilbert
Doctor- Ian Hart
Apparitions- Mark Baker; Helen Fisher; Emma Gilbert
Crew:
Director- Cathy McAdam
Assistant Director- Vanessa Osborn
Costume- Vanessa Osborn/Cathy McAdam
Sound Design- Vanessa Osborn/Parker-Jace Martin
Sound Operator- Liam Bailey
Stage Manager- Liam Bailey
Fight Arranger – Liam Bailey
Business Manager – James Carter
Advertising – Madeleine Ayres & SSC Pubsubcom
Props - Liam Bailey/Vanessa Osborn/Cathy McAdam/Tracey Peacock/Julie Carter
For more information about the SSC visit our website at
southendshakespeare.org.uk
CURTAIN CALL with Lee Jones from Basildon, who will be playing Macbeth
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When did you start to take an interest in theatre? Did you take part in any productions at school?
I believe my first theatrical experience was playing the role of Jesus in a primary school assembly. I don’t remember the play, but I recall, after the casting was announced, wandering around the classroom waving my hand over my classmates and announcing to each one in turn “I bless you, my child”. Are or were any members of your immediate family involved in drama? No, definitely not. I am very much the strange, black sheep of the family. Have you done any sort of formal training for acting/singing/dancing? Yes, I trained as an actor at Rose Bruford. I can hold a tune but I am morbidly afraid of dancing! Do you have any special skills, from stilt walking to dress making that have proved useful on stage? Sadly, no. Which experience/role do you regard as the highlight of your theatre career? This one! |
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When was your most embarrassing theatrical moment on or off stage?
My embarrassing stories are NSFW!
How do you earn your living?
These days I teach drama.
Was your theatre career ever useful in your day job, and/or have you ever drawn on your day job for any of your stage roles?
Most of the jobs I have had have had some performance element to them. I have been a children's entertainer, a tour guide, a presenter at various tourist attractions and theme parks and now I teach drama.
Are your friends mostly involved in theatre - perhaps even working with you on a regular basis - or do you socialise across a wider circle?
I still have friends from drama school and my years in the industry, but most of my friends pre-date my theatre career. Many of them are musicians, actually, and a couple of them I met through my interests in medieval sword fighting and archery.
Which actor do you most admire and why?
There are many actors I admire. If I had to narrow it down, I would say Gary Oldman. His commitment to his characters was an inspiration to me and he was the reason I chose to train at Rose Bruford.
What role would you most like to play and why?
I would dearly love to play either Rosencrantz or Guildenstern in Rosencrantz and Guildenstern are Dead. I saw that play as a teen and thought it was hilarious. I used to do a speech from that play as my go to audition piece.
Ever corpsed on stage? What happened?
Not exactly. Although, I once had a very minor non speaking role in an opera at the Coliseum. The lead was the distinguished Sir Willard White, a huge, barrell chested man with a deep, rich voice. He had a ‘bath scene' in which he had to ‘frolic’ with his handmaidens in a large shallow pool wearing nothing but a sort of large linen nappy. My role, along with a colleague, was to stand downstage holding a spear and look like a menacing guard. On opening night, my colleague and I were stood at side of stage, spears in hand, waiting for Sir Willard to return from his quick change. Just before he was due on stage, he strode up behind us, clamped and massive hand on each of our shoulders and said in his cavernous voice “This nappy is right up my arse!”, before sweeping onto stage. My colleague and I followed him on, our spears wobbling as we both tried to suppress our laughter.
My embarrassing stories are NSFW!
How do you earn your living?
These days I teach drama.
Was your theatre career ever useful in your day job, and/or have you ever drawn on your day job for any of your stage roles?
Most of the jobs I have had have had some performance element to them. I have been a children's entertainer, a tour guide, a presenter at various tourist attractions and theme parks and now I teach drama.
Are your friends mostly involved in theatre - perhaps even working with you on a regular basis - or do you socialise across a wider circle?
I still have friends from drama school and my years in the industry, but most of my friends pre-date my theatre career. Many of them are musicians, actually, and a couple of them I met through my interests in medieval sword fighting and archery.
Which actor do you most admire and why?
There are many actors I admire. If I had to narrow it down, I would say Gary Oldman. His commitment to his characters was an inspiration to me and he was the reason I chose to train at Rose Bruford.
What role would you most like to play and why?
I would dearly love to play either Rosencrantz or Guildenstern in Rosencrantz and Guildenstern are Dead. I saw that play as a teen and thought it was hilarious. I used to do a speech from that play as my go to audition piece.
Ever corpsed on stage? What happened?
Not exactly. Although, I once had a very minor non speaking role in an opera at the Coliseum. The lead was the distinguished Sir Willard White, a huge, barrell chested man with a deep, rich voice. He had a ‘bath scene' in which he had to ‘frolic’ with his handmaidens in a large shallow pool wearing nothing but a sort of large linen nappy. My role, along with a colleague, was to stand downstage holding a spear and look like a menacing guard. On opening night, my colleague and I were stood at side of stage, spears in hand, waiting for Sir Willard to return from his quick change. Just before he was due on stage, he strode up behind us, clamped and massive hand on each of our shoulders and said in his cavernous voice “This nappy is right up my arse!”, before sweeping onto stage. My colleague and I followed him on, our spears wobbling as we both tried to suppress our laughter.
Tell us about your current production of MACBETH and your role in it
Macbeth is Shakepeare’s shortest and most violent play. Which may be why it remains so popular. I am playing the title role aka The Bloody Butcher. I see Macbeth as a man who is tricked and manipulated to act against his true nature and is driven mad by guilt and paranoia.
Any plans for the future, after "Macbeth” ?
I will almost certainly work with the SSC again, but probably only on the summer shows due to my commitments at work.
Any tips to pass on for learning your lines?
Soliloquys can be learned by rote, but dialogue needs to be spoken aloud and ideally with another person(s) to read/speak the other lines, so that the cues, actions and context can inform the character's journey.
Any other tricks of the trade to pass on?
Learning lines is important, but bringing them to life is the actors job.
Macbeth is Shakepeare’s shortest and most violent play. Which may be why it remains so popular. I am playing the title role aka The Bloody Butcher. I see Macbeth as a man who is tricked and manipulated to act against his true nature and is driven mad by guilt and paranoia.
Any plans for the future, after "Macbeth” ?
I will almost certainly work with the SSC again, but probably only on the summer shows due to my commitments at work.
Any tips to pass on for learning your lines?
Soliloquys can be learned by rote, but dialogue needs to be spoken aloud and ideally with another person(s) to read/speak the other lines, so that the cues, actions and context can inform the character's journey.
Any other tricks of the trade to pass on?
Learning lines is important, but bringing them to life is the actors job.