Written by William Shakespeare. Directed by Glenn Elston
Full of dark magic and well suited to the outdoors, this is a Macbeth that is rightfully ambitious
Written by Rachael Vassallo
Royal Botanic Gardens, Melbourne
Until 28th February, 2025
Tickets: https://www.shakespeareaustralia.com.au/productions/macbeth—melbourne—2025
Type: Shakespeare, Outdoors, Tragedy
If You Liked: Shakespeare, Glenn Elston, Dark Magic
I personally consider The Tragedy of Macbeth to not only be William Shakespeare’s greatest work but most likely the greatest piece of literature ever written. It explores some of the darkest, yet universally relevant themes within society. Scholars always wondered what Shakespeare thought when he wrote Macbeth. Was he completely blasé about the play? Historians believe it was set in Scotland to welcome the new King after Elizabeth I, James I. Macbeth can be set at any time or society and still be fresh and engaging.
Some critics keep away from reviewing Shakespeare’s work itself, instead discussing the production, though this misses binding glory why Macbeth is a must-see. I was first introduced to Macbeth ten years ago at school, and even students who struggled were enamoured by its story. There will never be a time or place when it is not relevant. Shakespeare’s skill is in the fact he could analyse society in such a profound way. You leave his shows with a stronger sense of connection to the world. This adaptation by director Glenn Elston is a good starter for those who have previously experienced Shakespeare behind a desk and want to cleanse their palette.
Macbeth and Lady Macbeth are two people set on their goals, convincing each other of mmurdering in cold blood those who stand in their way, but are themselves weak and doubtful. They constantly switch from this doubt to being insatiably ambitious, presenting a tumultuous relationship. They psychologically pressure themselves to put aside their morals only to be enamoured by their conscience. There is something very sly about pretending to be on someone’s side but ultimately seeking to commit the most heinous deeds against them for your own cowardly sake. The depiction of guilt and doubt in the play is unparalleled. Watching two people become so enamoured by power only to not be able to stop their vulnerability adds an extra brilliant layer to this work. It is undoubtedly perfect.
Under the direction of Glenn Elston, it is safe to say this adaptation is proper old-school ‘deadly’ Shakespeare. The magic is fantastical, the sets appropriate to their historical contexts, and the costumes are elaborately vibrant. Everything you would expect to see in a good Shakespeare. In the Elizabethan period, production design was sparse, though most people associate Shakespeare with spectacle, and the Australian Shakespeare Company absolutely delivered one.
Interpreting Shakespeare in modern times is challenging. The language is still considered modern English, though the metaphors can use archaic terms challenging for the untrained ear. Some directors choose to modernise, though a wise director uses stagecraft to communicate. Elston has a long history of directing outdoor scripted performance and proves even a conventional approach can still be fresh. His interpretation here has a heightened sense of eerie unease throughout. As soon as the three witches appear, the audience instantly enters fantastical Scotland. His continued use of the actors’ heightened energy keeps the script engaging even at times of repetition and interlude.
…the production is sure, like tonight’s performance, to sell out completely.
Hugh Sexton shone brightly as Macbeth. His performance epitomises our mythos around Shakespeare’s character. Sexton personified the hypermasculine yet vulnerable protagonist, his vocal projection was perfect for Shakespeare, giving words wise tone choices that articulated the emotion within the script. Sexton is a brilliantly charismatic actor suited to Elizabethan drama. Equally skilled was Nichole Nabout as Lady Macbeth, a master manipulator able to shift between the dainty feminine and the ruthless cowardly co-conspirator. Elston directed their degradation well leading up to their climactic downfall.
The costumes by Karla Erenbots had a lot of character and flair separating them from similar performances, having design elements of both the Scottish tradition but also original motifs with the design for the witches being particularly detailed. The set and props were versatile in their Beerbohm-Tree glory, with the castle being on a revolve. The cauldron used by the witches was a magical highlight. Though, the best scenic design came from the sky, this play was timed perfectly through sunset, with lighting choices being wisely chosen to match.
Macbeth is of never-ending relevance, with a new brand of cowardly ambition in the news every other day. Shakespeare is never leaving our stages. Make a day out of this one, the grass is perfect for a picnic and the production is sure, like tonight’s performance, to sell out completely.
Theatre Thought: Can someone use their ambition for good instead of bad?
Starring: Hugh Sexton, Nicole Nabout, Maddie Somers, Elizabeth Brennan, Johnny Light, Callum O’Malley, Dion Mills, Kevin Hopkins, Jackson McGoven, Eleanor Timms, Anna Burgess, Claire Duncan, Larissa Teale, Luke Lennox, Alex Cooper, Tony Rive, Henny Walters, Scott Middleton.
Creatives
Director | Glenn Elston OAM
Musical Director | Paul Norton
Costume Design | Karla Erenbots
Flight Choreographer | Scott Jackson
Production Manager | Peter Amesbury
Stage Manager | Sophie Walter
Sound Operator | Will Leslie
Site Manager | Kelly Harris
Construction Manager | Dave Angelico
Costume & Props Coordinator | Kaspa Elston
Production Photography | Ben Fon
Publicist | TS Publicity (mary@tspublicity.com.au)
