PETER MASON is beguiled by a fascinating account of the importance of cricket to immigrants from the Caribbean to the UK
Macbeth
Royal Shakespeare Theatre
Stratford-upon-Avon
UNDENIABLY, there's an operatic quality to all of the Bard’s tragedies. The individual actor playing the protagonist controls the impact of the play and Christopher Eccleston's Macbeth is no noble Scottish captain but rather an unimaginative, bullet-headed northern squaddie.
That is, until he meets the weird sisters who, in Polly Findlay’s production, are three seemingly delightful little girls playing “innocently” with their dolls.
With the possibility of seizing the crown embedded into his mind, Macbeth can’t wait for the wheelchair-bound, geriatric Duncan to leave the scene naturally. Speedily, he gets on with seeing the old man off.
GORDON PARSONS joins a standing ovation for a brilliant production that fuses Shakespeare’s tragedy with Radiohead's music
GORDON PARSONS meditates on the appetite of contemporary audiences for the obscene cruelty of Shakespeare’s Roman nightmare



