Review: MACBETH, Australian Shakespeare Company - Theatre on Kew

Photo credit: Ben Fon

Macbeth is a classic tragedy, with its supernatural witches, blood and gore, and heartwrenching demise of its protagonists, and after a run at the Royal Botanical Gardens in Melbourne earlier this year, this production of Macbeth by the Australian Shakespeare Company has transferred to Kew Gardens for the summer. It combines Shakespearean tradition with the beautiful natural setting to create a compelling rendition of this iconic play. Both the cast and design team utilise this space to create a production that not only preserves the horror and heartbreak of Shakespeare’s words but also immerses the audience in the pain and suffering experienced by the characters.

The three witches, played by Grace Holroyd, Monica Nash and Madeleine Somers, are standouts in the production, appearing both sinister and satirical with exaggerated physicality, sing-song delivery of speeches, and a chilling stage presence. The large ensemble also makes for some visually beautiful moments, particularly during the final battle at Dunsinane, and Scott Jackson’s fight choreography in this sequence and throughout the show is outstanding.

Nicole Nabout plays Lady Macbeth deftly, infusing emotion and desperation into both her scenes with Macbeth (Hugh Sexton) and her soliloquies, and truly shows a woman on the brink of breakdown.

Glenn Elston’s direction of the show is generally interesting, however some of the soliloquies feel visually static, surprising given the possibilities provided by the raked three-tiered stage.

The set, designed by Dave Angelico, is versatile, with a table, benches, and battlement of Dunsinane serving as not only an indication of location, but also to masterfully conceal entrances and exits by actors, enhancing the supernatural elements that exist within the text. A particularly creative moment occurs at the beginning of Act 2, where the battlement revolves to reveal the inside of the castle filled with potential heirs to the throne. However, whilst effective, this aspect of the set is perhaps underused, and it would have been lovely to see more of the ‘inside’ of the battlement.

Kaspa Elston’s costumes are inspired, being visually cohesive yet still providing interest through accents of fur, leather, and chain-link. The witches’ costumes are particularly impressive, with ragged capes and dramatic face paint furthering their deranged and dangerous air.

Peter Amesbury’s lighting is striking, particularly coupled with the use of smoke to create a haunting and atmospheric setting. The trees behind the stage are splendidly lit, changing from orange and red to blue and purple during battle scenes, and creating an all-encompassing ambience in the theatre.

Though not flawless, its striking design, atmospheric staging, and strong performances make this a summer Shakespeare worth seeing.

**** Four stars

Macbeth plays at Kew Gardens until 31 August, with further info here.