It’s not often you’ll find a work of Shakespeare kicking off with a knock-knock joke, but then it’s perhaps even rarer to find such a radical reimagining of the Bard’s work as Macbeth (an undoing), written and directed by Zinnie Harris. The co-production is currently playing at Rose Theatre, Kingston before heading back to Edinburgh’s Royal Lyceum as part of an international tour that will also take in New York.
That ‘knock-knock’ comes from Carlin (magnificently played by Liz Kettle) who, as well as being our narrator, is both a servant and one of the three witches that delivers the well-known prophecy to Macbeth. In this version the first act plays out along the same lines as Shakespeare’s original, with a few changes to characters and dialogue, such as Malcolm as a brattish teen.
In the second act, the Scottish Play becomes almost unrecognisable, as it is Lady Macbeth who takes centre stage. On the face of it, this seems to make much more sense, having delivered the fatal blow to Duncan, it should be, and here is, Macbeth (Adam Best) who takes to sleepwalking and delusional rambles.
Instead of being the one that descends into madness, Lady Macbeth becomes the protagonist, and there’s much more focus on her relationship with Lady Macduff (Emmanuella Cole), who also has an expanded role in this version as Lady Macbeth’s sister.
Nicole Cooper captivates the audience as Lady Macbeth, creating a whole new character that’s fascinating to watch. Just as ambitious, just as driven, but stronger and arguably more dangerous than ever before.
That’s not all that’s different, there’s far more modern language, as if the present is speaking to the past, and breaking of the fourth wall as the production becomes increasingly meta in its approach.
But we also see Harris throwing more and more at this story, extra layers on extra layers, until it eventually ties itself in knots while trying to tie up loose ends. Intriguing as all of this is, you’re left wishing for a production that departs as much from the original, but also keeps it a more straightforward divergence.
“If you’re after pyrotechnics, you’ll be disappointed” says Carlin in that opening monologue, along with references to other tour venues, it’s another example of the meta approach. But it’s also true, there’s nothing particularly flash about the staging, and it doesn’t need to be. Tom Piper’s set, with mirrored backdrop reflects the souls of the characters, while Oğuz Kaplangi’s gorgeously eerie music more than sets the scene.
Macbeth (an undoing) is an inventive and interesting new take on one of Shakespeare’s most celebrated works. The fact that so much has been attempted is what makes it so compelling but ultimately is also what makes it weaker than it should be.
Macbeth (an undoing) is at Rose Theatre until 23rd March
