Ros Watt stars as Malcolm in the cinema release of Macbeth, alongside David Tennant and Cush Jumbo which has recently played to sold out houses in the West End.
The production will be screened in cinemas across the UK, US, Australia and selected international territories from 5 February 2025. The critically acclaimed production, directed by Max Webster was filmed live during its run at the Donmar Warehouse in London.
Tickets are on sale at MacbethDonmarCinema.com.
Macbeth’s West End run ended in December but will shortly be screened in cinemas, what can you tell us about the show?
It’s an incredibly psychological take on a famous tragedy. It really allows you the opportunity to get into the heads of the Macbeths and see their demise in real time. It opens with Macbeth returning from battle, covered in blood, and the story unfolds from that place – the impact of war upon a person and how the suggestion of power can affect people.
This production has been incredibly successful, breaking box office records. How does it feel to be part of such a celebrated production?
It’s quite mind blowing honestly. I landed the role a few months after graduating from drama school, so I feel incredibly grateful and honoured to be part of such a hailed production. It’s always an interesting feeling being part of a show, as you’re never quite sure of how it will be received until it meets an audience. I feel grateful and excited that the audiences seemed to love it, and I never missed an opportunity to watch from the wings! I’m glad the production is being given the opportunity to be seen by more people around the world.
Macbeth is one of Shakespeare’s most famous tragedies. How have you approached the character and what unique elements have you brought to the role?
Malcolm is noted as the eldest son of Duncan, so the role is often played by someone older presenting than me. I’m quite small and look rather young, it was an interesting provocation to have the responsibility of Scotland on the shoulders of someone who’s just entered adulthood.
Also, as a trans actor, it’s really exciting to play with the idea of Malcolm having become the eldest son, instead of being born into that role. It adds an extra pressure to Malcolm’s journey, having something massive to prove and doubting if he deserves his position. There’s an insecurity that the people of Scotland may be more wary of putting their trust in him. In the current political climate, it feels incredibly emotional to imagine the possibility of a trans person being in line for the throne. Although Malcolm is not canonically trans in the text, I got to bring some of myself to the role that was a new and invigorating twist on the character.
With such a talented cast, including David Tennant and Cush Jumbo, how has the collaboration been?
It’s been phenomenal, I’ve learnt so much from the entire cast. The rehearsal room was a very open space, and it was incredibly rewarding being able to watch people work and get a glimpse into their processes.
The production has received glowing reviews, particularly for its eerie sound design and lighting. Can you tell us about the creative process behind these elements and how they enhance the show?
The lighting is gorgeously designed by Bruno Poet who has created the most wonderfully clever shapes and atmosphere on the stage. The set is incredibly sleek and minimalist, stripped back to really expose the journey of the characters – they have nowhere to hide, and I feel that feeling is really captured.
In the theatre, the audience members wore headphones with surround sound, allowing everyone to experience the voices coming from all round. This is beautifully executed by Gareth Fry who has created an experience of living inside the Macbeths head. This sound is played through the cinema’s surround sound speakers to retain this experience.
Through the creative process, we as actors were unable to hear the full sound design. We were wearing mics from the start of rehearsals and in the room we would occasionally pop headphones on to get a feel of the sound atmosphere that was being played in the audience’s ears, but on stage we only had a few cues played in the space. This meant we were rarely emotionally influenced by the sound and simply played the scenes as written, and it was only when I watched the recorded version back that I heard all of what was happening for the audience!
We also had a wonderful group of four actor musicians who created live music in the space which really cemented the production in Scotland.
What would you say to anyone thinking of booking to see Macbeth in the cinema?
Feedback I’ve received from audiences I know have generally been that it’s really made Shakespeare incredibly accessible. There are some phenomenal performances in the show and it really helps you to feel what’s going on for the characters and allows you to go on a journey with them.
