Latest editorial
Nothing, says ANDY HEDGECOCK, can rescue this undistinguished amalgam of ponderous melodrama and shallow philosophical speculation
Modish Macbeth loses the plot
JAMIE BRITTON invites readers to visit 3,500 locals as part of a marathon artistic pub crawl
JOHN GREEN welcomes a valuable and incisive analysis of a world become hyperpolitical but without the mass movement institutions to represent it
JAMES WALSH is moved by a provocative and original take on the relationship between ecology and architecture, and a plea to work with, not against, the materials and minerals of our world
An immersive, participatory display by a queer Australian Aboriginal performer, and a rebellious unravelling of traditional Scottish dance
Macbeth
Young Vic Theatre, London SE1
2/5
THE accent in this contemporised version of Macbeth is very much on the physical, with movement and dance sequences backed by repetitive techno music linking scenes, creating mood and tension and defining characters.
In the process, the role of the actors in interpreting Shakespeare’s disturbing tragedy is lessened in Carrie Cracknell’s staging and Lucy Guerin’s choreography.
Similar stories
Family issues and dragon-fuelled history amount to a vacuous spectacle that ill-fits the theatre, muses SIMON PARSONS
KEITH RICHMOND relishes a superbly conceived modern version of Aeschylus’ drama of murderous family succession
MARY CONWAY is spellbound by superb performances in Arthur Miller’s study of the social and personal stress brought about by Nazi Germany’s Kristallnacht
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class