According to some in the theatre world, the unlucky tag attached to Macbeth is because when the old stock theatre companies were in financial difficulties they would stage the popular ‘M’ play which would draw in the crowds and bring in much needed resources.

Whichever way it is looked at this bloody tale of ambition and betrayal positively bristles with theatrical possibilities which are enough to make any potential director drool at the thought of bringing their talents to bear on a production.

Perhaps then the only surprise is that it has taken Artistic Director of Shakespeare at The Tobacco Factory, Andrew Hilton, since the opening 1999 season to resist the challenge.

And so it is that the fifth season of that now much acclaimed company opens with this most popular of Shakespeare’s tragedies.

Once again the no frills surroundings of this former tobacco manufacturer’s space complete with low overhead clutter of pipes and ductings both ancient and modern enhance a starkly simple setting comprising low rostra on which this Scottish tale is set.

The problem of course is that nearly everyone attending will have seen the play produced before and bring to it their own personal baggage of productions both good and well – the infamous Peter O’Toole production seen in the City in the later part of the last century comes to mind!

Thus when the witches open this production on the blasted heath with their strange incantations the key is strangely low due to a lack of theatrical device to underscore the moment.

King Duncan played with some kingly poise by John Nicholas sets the scene thereafter declaring his eldest son Malcolm as crown prince. Tom Espiner’s lyrical speaking in this role sets the standard for others to follow.  

Victorious general Macbeth who as Thane of Cawdor has aspirations of kingship himself is much put out at Duncan’s pronouncement.  Gyuri Sarossy’s Macbeth whilst wild of eye and aggressive in speech  perhaps is more of a thwarted industrial executive when denied a place on the Board than disappointed warrior.  This is important because Macbeth’s fall from hero to bloody tyrant is central to the plot.  It is essential the charisma of the man is apparent to make his unbalanced degeneration powerful enough to believe in.  Likewise Zoë Aldrich as Lady M lacked something of the seductress in goading her husband to perform the horrible deeds on which the play is based. 

That said as expected of Shakespeare at the Tobacco Factory productions, the production was entirely accessible with considerable directorial time obviously being given to a clear understanding of the dialogue of one of the Bards greatest plays and conveying it to a packed supportive audience.   

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