Shakespeare himself would no doubt be shocked, not only that his work was still being performed four centuries later, but that we still keep finding new and innovative ways to adapt his work. Using sound technology, Macbeth, directed by Max Webster, comes to the Donmar Warehouse with a stellar cast and sound design which transports us to the very heart of the action.
The audience all wear headphones for the duration of the performance, “you’ve all paid to listen to a radio play” quips The Porter (Jatinder Singh Randhawa) in the only moment of the fourth wall being broken. But in reality, that couldn’t be further from the truth, this Macbeth looks as good as it sounds.
Before the performance we’re asked to listen to a recording that ensures the headphones are working and that we have them on the right way round. That’s because the production uses binaural sound (different sounds in the left and right ears) to achieve a stunning soundscape. The technique is often used in online ASMR videos, designed to help relax and induce sleep, though you’re unlikely to doze off during this captivating production.
This ever so slightly abridged version of ‘The Scottish Play’ gives Shakespeare’s tragedy a new lease of life. Lines which would traditionally have to be projected can be whispered only to be magically delivered directly into our ears. It makes the Macbeth’s murderous thirst for power, and then to hold on to it, seem all the more callous.
Rosanna Vize’s design is pretty much a blank canvas, a bare stage and a rear section behind glass, ready to be painted by the audience’s imaginations through the sounds they’re hearing; birds in flight, ghostly echoes and tortured souls amongst them.
David Tennant as the titular Macbeth holds the audience spellbound throughout, while Cush Jumbo’s Lady Macbeth is remarkably compelling, particularly towards the end as guilt driven madness descends. Tennant and Jumbo are the obvious leads, but this is also a superb ensemble effort that includes actor musicians.
On a practical level, running at close to two hours without an interval, there’s no respite from the headphones which begin to get uncomfortable. The volume levels are also controlled centrally, and at times some of the sound effects were too loud, occasionally drowning out the dialogue.
On the whole though, it’s not a huge inconvenience in order to enjoy a radically inventive production of Macbeth, which Max Webster has directed beautifully.
