Learning an awesome amount of lines and then finding meaning and variety in every word and phrase
A New York skyline set, brilliant music, bold costumes, cocaine, New York accents, gore and guns. You’d be forgiven for thinking you had been transported to the set of Goodfellas, and if you think about it, there is no bigger gangster than Macbeth. Isaac Stamper played the Scot/New Yorker with an incredible control over the character. Taking on the task of learning an awesome amount of lines and then finding meaning and variety in every word and phrase is something Stamper clearly revelled in. Maintaining modern attention in Shakespeare can be difficult, but Stamper’s preparation made it look easy. And he wasn’t alone: Evangeline Wishart’s portrayal of Lady Macbeth was brought up again and again to me, by so many audience members, for its brilliance. Her stage presence and stature were befitting of not only the Queen of Scotland but also the puppeteer that pulls the strings on Macbeth’s villainy throughout the play. They were, both performances, inspiring to all the other actors from the theatre society who had come to support, and they should both be proud of themselves and appreciative of what was surely excellent direction from Forrest.
The ensemble cast’s ability to multi-role ... is only testament to their range
No play is made through just a set and two actors though. The performance from the ensemble I found particularly impressive. Millie Hermann’s Banquo was brilliant, and I thoroughly enjoyed her ghostly reappearance at the banquet. Elin Auld, Scarlett Bancroft and Fleur Parkin’s Witches were smooth and wickedly cool with their fluid physicality and tormenting demeanours. Lara Hillier’s Macduff, costumed in a fantastic matching green waistcoat and trousers, was as unwavering and masculine, especially when contrasted with Stamper’s Macbeth, as you would want it to be. Emma Hotchkin’s arc as Malcolm truly showed his growth from a son and heir to a strong, capable leader who can right Macbeth’s wrongs. Rachel Jardine’s Ross was hilarious from start to finish and the humour delivered was nicely calm and composed. Libby Baker’s Lennox was the perfect pairing to Jardine’s Ross and I especially enjoyed their reactions to Macbeth’s crazed fit during the banquet scene. Ethan Wood similarly to Wishart, showed the kind of stage presence a King should demand and it’s only a shame Duncan dies as early as he does. Finally, Finlay Worrallo’s Porter was for sure a highlight of the show. The comedic interlude it provided amidst a wash of drama was greatly appreciated by everyone in the audience. The ensemble cast’s ability to multi-role, as almost all of them did, including Wishart, and remain clear and understandable is only testament to their range and immense ability.
Lottie Forrest's vision throughout, from her AGM pitch to show day, was clear. She wanted sexy, sleazy, suited and booted characters. She wanted big sets and even bigger performances, and she got exactly what she wanted. I don't doubt it was her clarity and passion that got everyone on board and determined to do her proud. I'm sure she will be proud now, as her hard work has come to fruition. I had a wonderful night at the People’s Theatre watching NUTS’ Macbeth and it’s another of their productions that makes me envious of everyone involved, because it was clearly a labour of immense love for all of the cast and crew.