Volcano Theatre, Macbeth, Director’s Cut, Chapter

It has been on the theatrical bucket list to see some work from Volcano Theatre. So an opportunity to see a reimagining of Shakespeare’s Macbeth was something I simply had to see.

We’d arrive in to the space and be taken over by smells and sights. A lady is seen squatting over a hot plate, cooking a make shift omelette, as she takes rosemary and placed it around the line of salt which separated us from them. A man in the background is seen (though mostly heard) as he used a mallet to slam nails into a tree trunk. Mannequins are hung in the air and the set is mostly white and light browns. Soon they begin to use psychical theatre, as she slightly convulses and each tries to over power the other. This harsh opening would soon be met with pleasantries from both performers Esmonde Cole and Zoe Mills, as they thank us for coming and discuss some concerns about life in general and the fact we have turned up to this very show. We are then thrust into full-blown Bardic monologues from Macbeth.

The piece directed by Paul Davies, has a feel for a show from the 1970s, reconsidering the text and also trying out new devices in how to present it. Those who expect a sober and accessible introduction the The Scottish Play, would be ill-advised to see this Director’s Cut. The show flights of fancy don’t always work and we are left reeling from a never ending display of tricks and ideas. I crave Shakespeare that is not presented in such a safe delivery style (though the experimentation in style of production is welcome). We know know how his texts would have been pronounced then and even just finding a way to say it that does not reek of acting school would also be refreshing. This over saturation to the Bard, must call for more interesting way of expression.

https://vimeo.com/198037397

I declined an offer to join the royal dining party (I knew how it ends) and I felt like an effort to get people out of the audience for this part. My concerns with the piece was that if just felt like we were acted at as an audience at times. Perhaps this goes back to the whole acting school mentality. There were time where I could not bare the shouting, bolstering about and frequent injury to our senses. Mills’ bloody curdling scream could rival that of Laura Palmer’s, as we expected her to blow out her candle during her death, only to raise her voice instead. Some nice use of the rostrums and cabinets, get both performers in some tight spots, though this was not used enough and a bed on stage was barely used at all.

Cole has a great presence and physicality, defined by his firm delivery of the lines. His bold movements at time are great visions, his snatching of the imaginary dagger that he sees before him is visceral. Mills makes a sultry Lady whether making food, confronting her husband or even her playing of a small tuba, as she murmurs into the mouthpiece. The two do have great chemistry, proven by a charged, heightened anxiety both characters have due to their murderous actions in the play. This pairing would also make a fascinating look at Othello in today’s talk of diversity and race in the arts.

Further performances:

Volcano Theatre, Macbeth, Director’s Cut, Chapter

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