Macbeth, a seemingly loyal soldier in the service of King Duncan, is returning from battle when he comes upon three witches. The witches speak of a prophecy where Macbeth eventually becomes King of Scotland. Macbeth is sceptical, but yet an insidious seed has been planted in his mind.
After discussion with his wife, Macbeth kills Duncan and takes his place as King of Scotland, yet the crown does not rest easy. Suspicion, fear, and madness grip Macbeth. As he desperately clings to power, forces are assembling to wrest the throne from him and restore order and nobility to the kingdom.
This is a visceral, at times audacious, production by the Australian Shakespeare Company. There’s a brashness in its style, both in terms of design and performance. Outside on the grounds of the resplendent Botanical Gardens, the wide, layered set appears mostly pragmatic, yet holds more than a few surprises.
Despite an unforgiving temperature drop and wind chill on opening night (make sure to bring a blanket. Snacks are good, but do not forget a blanket), the storytelling never failed to captivate and entertain.
Hugh Sexton was tremendous as Macbeth, charting a riveting but tragic decent into mania. Macbeth appears to us first as a proud and devoted figure, yet commits to death and betrayal so swiftly to be almost unbelievable.
Yet, Hugh makes Macbeth’s decision and subsequent murderous action coherent, highlighting how thin the line can be between ambition and insanity and conveying wonderfully the awful ferocity of guilt.
But the appalling psychological and emotional price is not born by Macbeth alone. Lady Macbeth, played by Nicole Nabout also bears a terrible burden of guilt. Whether relishing the rise in status that the plotting with her husband has wrought, to the inescapable weight of what that ascension cost, Nicole gave a committed and engrossing performance.
When we first meet them, there’s no doubt as to the the three witches’ – played exquisitely by Elizabeth Brennan, Madeleine Somers, and Henny Walters – supernatural prowess.
They’re unsettling from the outset, but are no discernible threat to Macbeth, a quality conveyed beautifully by all three actors. It makes their machinations feel all the more sinister as the story progresses and Macbeth’s grip on power wrecks its toll.
In early scenes supporting Macbeth, or in latter scenes haunting him, Johnny Light was excellent as Macbeth’s comrade, Banquo. Not so much sleight-of-hand as it was slight-of-body, Johnny was an engaging presence whenever he appeared and disappeared, both before and after death.
Leading the army to topple Macbeth are Macduff and Malcolm, played by Jackson McGovern and Anna Burgess respectively. Macduff suffers incredible trauma – from what Macbeth has done to his beloved Scotland and especially to his family – which Jackson performed marvellously.
Anna Burgess’ Malcolm carries a similar indignation but channels it with a resolute steadfastness that stands in striking contrast to Macbeth’s ‘Kingly’ behaviour and is impossible to look away from.
Sue-Ellen Shook’s work on choreography, Paul Norton’s special effects and music design, Kaspa Elston’s costume design, and Peter Amesbury’s lighting are all to be commended. From the opening scene, this production draws you in.
By the time the moon shines on an exciting, bloody climax, Director Glenn Elston and his cast and crew have told the audience a fantastic story. Get to the gardens to see it while you can!
Macbeth
Southern Cross Lawn – Royal Botanic Gardens Melbourne,
Performance: Saturday 8 February 2025
Season continues to 28 February 2025
Information and Bookings: www.shakespeareaustralia.com.au
Images: Hugh Sexton as Macbeth – photo by Ben Fon | Madeline Summers, Henny Walters and Elizabeth Brennan as the Witches – photo by Ben Fon
Review: June Collins