In a lawless post-industrial future, devastated
cities are terrorised by murderous gangs vying with
each other for control of territory. But among the
ruins there survive mutants with supernatural
powers, intent on wreaking revenge on those
above...
Taking stylistic cues from movies such as Bladerunner and Total Recall, Shock Tactics' Macbeth presents a thrilling physical spectacle, accompanied as ever by an awesome musical soundtrack.
Taking stylistic cues from movies such as Bladerunner and Total Recall, Shock Tactics' Macbeth presents a thrilling physical spectacle, accompanied as ever by an awesome musical soundtrack.
The following
review appeared in the Croydon Advertiser of 11
February 2000:
Shockingly good and so modern
Wilson’s School, Wallington
Macbeth
Peter Steptoe
THE PROGRAMME states that Wilson’s School presents "Shock Tactics" in Macbeth, and so they do. The set appears to be the boiler house of some broken-down basement surrounded by the detritus of a forgotten civilisation.
Shakespeare’s play then proceeds in a form of modern dress with all the blank verse intact, and moves from Scotland to England, castle to wood, without us worrying at all.
The director, Jeff Shaw, keeps it moving effortlessly along, and retains the vibrant energy and athleticism of his actors.
The witches, "all fellers in drag" (Christian Palmer, James Barbour and Matthew Lamble) were superb and brought out a satisfying black comedy, where none seemed to exist.
Macbeth, played by Adam Davies, handled his soliloquies admirably and illustrated the character’s self-doubts. Justin Laleh as Macduff used his splendid thespian voice to advantage, but should avoid too much shouting.
The fight at the end, with the head of Macbeth displayed on the point of Macduff’s sword, was a coup de theatre.
Lady Macbeth (Camila Saunders) was stunningly halfclothed in black Lycra which seemed to add to her attractiveness and in no way diminished her acting ability. Her sleepwalking scene, replete with candle, was very moving.
The murder of Banquo (Michael Englard) was violently and terrifyingly carried out, and he played his subsequent ghost with a shuddering realism.
The cast of 35 players are to be congratulated on the performance that I saw.
Many of the parts are quite small but all the actors demonstrated the art of listening and, in that way, made sure we all believed what was taking place.
Shockingly good and so modern
Wilson’s School, Wallington
Macbeth
Peter Steptoe
THE PROGRAMME states that Wilson’s School presents "Shock Tactics" in Macbeth, and so they do. The set appears to be the boiler house of some broken-down basement surrounded by the detritus of a forgotten civilisation.
Shakespeare’s play then proceeds in a form of modern dress with all the blank verse intact, and moves from Scotland to England, castle to wood, without us worrying at all.
The director, Jeff Shaw, keeps it moving effortlessly along, and retains the vibrant energy and athleticism of his actors.
The witches, "all fellers in drag" (Christian Palmer, James Barbour and Matthew Lamble) were superb and brought out a satisfying black comedy, where none seemed to exist.
Macbeth, played by Adam Davies, handled his soliloquies admirably and illustrated the character’s self-doubts. Justin Laleh as Macduff used his splendid thespian voice to advantage, but should avoid too much shouting.
The fight at the end, with the head of Macbeth displayed on the point of Macduff’s sword, was a coup de theatre.
Lady Macbeth (Camila Saunders) was stunningly halfclothed in black Lycra which seemed to add to her attractiveness and in no way diminished her acting ability. Her sleepwalking scene, replete with candle, was very moving.
The murder of Banquo (Michael Englard) was violently and terrifyingly carried out, and he played his subsequent ghost with a shuddering realism.
The cast of 35 players are to be congratulated on the performance that I saw.
Many of the parts are quite small but all the actors demonstrated the art of listening and, in that way, made sure we all believed what was taking place.