Certainly this muscular and hugely effective version of the renowned ‘Scottish play’ will leave you making comparisons with the political shenanigans which currently afflict the world.
A co-production with Hull Truck and Derby Theatre, Macbeth marks a return to the Octagon for former artistic director Mark Babych. Currently artistic director at Hull, he has avoided the Braveheart world of the original work and reset it into a modern, unspecified war torn country ravaged by conflict.
It’s hugely effective and highlights the relevance of a play written so long ago.
Too often directors taking on the Bard feel compelled to throw every toy in the box at a production to make it ‘different’. Bar a few neat little tricks this version lets the story unfold at a cracking pace taking the audience with it.
Oliver Alvin-Wilson and Macbeth and Daniel Poyser, Banquo (Image: Tom Arran)
Oliver Alvin-Wilson is a physically imposing yet ultimately emotionally crippled Macbeth. In combat fatigues he is a commanding figure whose prowess in the on-going war makes him a favourite of the king.
Clearly we are in uncertain, lawless times where might is strength. Alvin-Wilson’s Macbeth is a man torn; he has ambition but you sense he knows that should he unleash that ambition, along with it comes a dark side which he fears he can’t contain.
But the lure of power is too much. The three mysterious witches who prophesy he will be king unlock the dark side, raising the question just how far are you willing to go? The old adage of power corrupts and absolute power corrupts absolutely has never been better demonstrated.
Jo Mousley as Lady Macbeth is his more than willing partner in crime. We first see her in sensible yet stylish clothes looking every the inch the perfect hostess. But given that first tantalising glimpse of what might be she becomes the driving force behind her husband’s merciless rise.
Oliver Alvin-Wilson, Macbeth, and Jo Mousley, Lady Macbeth (Image: Tom Arran)
Her gradual descent into madness is very well done and utterly believable. She’s as much a victim of the pursuit of power as her husband.
This version of Macbeth doesn’t pull its punches. It’s hard hitting, at times brutal and always compelling.
Daniel Poyser as Banquo and Simon Trinder as Macduff are both played with real character and belief. The scene involving Banquo’s ghost has the potential to be farcical but in blood soaked shirt and with almost Zombie-like tics, it’s compelling stuff.
The witches – Livie Dalee, Josie Morley & Deborah Pugh – in Macbeth (Image: Tom Arran)
The role of the witches in Macbeth is often the most divisive. In this version they look like extras from a Mad Max film and yes, it does require a little suspension of disbelief, but they are pretty unnerving – the scene in which they channel their prophecies through babies on their lap is absolutely chilling.
All the supporting cast help guide the audience through the ever-increasing madness. Benjamin Wilson as Ross acts as part narrator and Colin Hurley’s porter eases the tension briefly with a well observed comic scene.
Colin Hurley as the Porter in Macbeth (Image: Tom Arran)
The staging and lighting is impressive and the fight scene at the end is very realistic.
The production pretty much stays true to the original text with just a few edits to help the audience along.
There will always be those who say ‘oh it’s Shakespeare, it’s not for me’ but honestly they are the ones who are missing out.
This version of Macbeth takes a story of doomed ambition and turns into a pretty compelling (that word again) work of theatre. At its heart is the performance of Oliver Alvin-Wilson; he’s a Macbeth we come to feel sorry for rather than despise in spite of the awful acts he commits. There’s a vulnerability behind that imposing physique which adds an extra dimension to the character.
Overall this is a very accessible, surprisingly relevant and at times challenging interpretation of one of the great works.
Don’t be put off by the fact it’s Shakespeare. Just follow the action – there’s plenty of it – and the story will come to you. One you’re in, you’ll be hooked.
Until Saturday, March 28. Details from www.octagonbolton.co.uk