Macbeth

Being one of the Fundit sponsors of this production of the Scottish play at Smock Alley, this is an earnest attempt at a semi-unbiased review of KH T’* directing Macbeth.

As I did stand my watch upon the hill I looked toward Birnam and anon methought the wood began to move

T’* has directed and acted in several Shakespeare productions at UCD’s Astra Hall, and his hallmark brevity is at work here as Macbeth comes in at just under 100 minutes without an interval. The play opens with King Duncan (Finbarr Doyle) receiving news from a wounded soldier (Patrick Doyle) of Macbeth (Gerard Adlum) successfully suppressing a rebellion. His generous decision to reward Macbeth with the rebel’s title Thane of Cawdor backfires spectacularly, however, as Macbeth and Banquo (Conor Marren) have just been visited by three witches who prophesied receiving that title would be the first step towards Macbeth becoming King of Scotland. But it is not until Macbeth returns home, with the unexpected news that Duncan intends to stay with them, that the mischief really starts as ambitious Lady Macbeth (Jennifer Laverty) pushes him to murder Duncan and seize power…

There are no lulls until Malcolm and Macduff’s filler scene in this breathless production. Macbeth’s castle on the fateful night is a frenetically busy place, and Cait Corkery’s design cleverly utilises the Romanesque windows of the Boys School space by running stairs up to them to create a balcony, which Macbeth hides under at one point gripped by fear and guilt. The witches are druidic figures, appearing in hooded cloaks on three sides of the audience in the gangway above. And returning soldiers run down these gangways to gain entrance to the stage, injecting tremendous bursts of energy into Shakespeare’s tale of dark plotting. Eoghan Carrick’s lighting design emphasises the nocturnal aspect of the play, while his use of greens and blues in his night-time tints also subtly hints at the supernatural powers at work forcing Macbeth ever bloodily forward.

But a T’*-ian Shakespeare will always have naturalistic comedy, and here Katie McCann as an excitable Ross offers much background joviality, and also an unexpected personal note in her plea to Malcolm (Jamie Hallahan) that in his cause even the women of Scotland would fight against the tyrant. Meanwhile Patrick Doyle in a terrific performance in a portmanteau role at Chez Macbeth transforms the Porter’s speech into a series of ‘knock knock’ jokes told to various members of the audience, casually slits Banquo’s throat ending his indignation, serves drinks afterwards as Macbeth hastily dabs off Banquo’s blood from his cheek, smiles devilishly as he appears on the balcony to check the escape of Lady Macduff (Claire Jenkins) with the faux-innocent question ‘Where is your husband?’ and, as Seyton, stays by his murderous master till the bitter end of Birnam Wood.

Playing Shakespeare with a cast of nine, regardless of the cutting done, requires this sort of doubling; and everything works except for an unfortunately Lynchian moment when Macduff arrives to check on Duncan. Eschewing any crown for instead a chair and a ring,(which Macbeth continually twists on his finger because of his guilty conscience) it’s all too easy to forget that Finbarr Doyle is Duncan/Macduff, so for a second it appears Duncan has arrived to where he is to check if he’s sleeping… Doyle though is a notably gracious Duncan, and his Macduff has pleasing notes of integrity. He also engages Macbeth in a sword-fight which thrills because it is perilously close to the audience in this small venue, and, because of some tweaking of the text, looks rather like Macbeth is going to get the upper hand on Macduff.

T’*’s cutting of the text puts us inside Macbeth’s head to a degree that makes him approach Richard III, except that instead of gleefully informing us what he’s going to do before he takes action, like Richard, this Macbeth is almost asking our advice on whether he should take action at all by outlining his qualms. Adlum has Macbeth simultaneously tempted and horrified by the witches. He has a painful awareness of what Jan Kott called ‘the grand staircase of history’ in Shakespeare’s plays. He knows that to kill Duncan will put him one level higher on the staircase, and will also create on the step he did occupy an equally lethal challenger to his new status. Laverty’s Lady M tempts him by pricking his vanity; she supplies the pragmatism for murder and immediate advancement, but not for reigning hereafter.

This lean production keeps our sympathy with a hero, first doing wrong out of fear of being usurped, who eventually collapses into amoral madness.

4/5

Macbeth continues its run at Smock Alley until January 25^th.

The Ides of March

Director George Clooney returns to the borderlands of American politics and media he mined so well in Good Night and Good Luck but hits an inferior seam.

Clooney and writing partner Grant Heslov open up Beau Willimon’s play Farragut North for a taut portrayal of political back-stabbing during the end of campaigning in a crucial Ohio Democratic presidential primary. Ryan Gosling’s hot-shot press secretary is a true believer in his candidate, George Clooney. An attempt by rival campaign manager Paul Giammati to poach Gosling though leads to a clandestine conversation that, parallel to his beginning an affair with Evan Rachel Wood’s intern, may ruin his career as his loyalties are questioned amidst his boss Philip Seymour Hoffman’s tense attempts to get a North Carolina Senator to endorse their candidate. The Ides of March begins in The West Wing mould with Gosling using the LBJ trick of spreading hysterically untrue rumours, “I know he doesn’t own a diamond mine in Liberia, I just want to hear him deny it for the whole day.”

It changes gears quickly, however, as this is an intelligent but very pessimistic film. It plays well as a companion piece to the 1972’s The Candidate, which charted with alarming realism the transformation of Robert Redford’s idealistic rebel into a pragmatic politician indistinguishable from the establishment he loathed. Gosling is disillusioned by the dirty business of how politics operates as he learns just how much integrity his candidate is willing to sacrifice to get the nomination, and how little ‘loyalty’ really means. Clooney’s direction is wonderfully crisp, including a scene where traumatic news is relayed to a character while all we see is a slow push-in on the car where the conversation is taking place. Clooney also excels in his supporting role by investing Governor Morris with infinite shades of grey: articulate, funny, and attempting to be idealistic but perhaps a weasel at heart.

Ryan Gosling is initially charming before switching to distraught and vengeful and, like Drive, walking around menacingly a lot, but thankfully without stomping anyone’s head. Jeffrey Wright is wonderfully oily as the king-making Senator, and Wood’s intern is a nicely played layering of naivety and guile, with her reaction to one shock an amazing piece of acting as her entire seductive facade crumbles. Giamatti’s outburst, “I have seen too many Democrats bite the dust over the last 25 years because they wouldn’t get down in the f****** mud and wrestle the elephants”, bespeaks a frustration that The West Wing chose never to overcome. Clooney disillusions us not just with the process of politics but its possibility to effect any positive change so that, like The Good German, this work oddly contradicts the real Clooney who believes in the efficacy of keeping a satellite over Darfur.

The pure cinema of the closing sequences is emotionally devastating, especially the visual introduction of a new character which implies that the events of this tragedy will repeat themselves again, with the same players in different roles. It is Jan Kott’s Grand Staircase interpretation of Shakespeare’s history plays as a never-ending cycle, the king is killed by an usurping rebel, but that new king is then challenged by an usurping rebel, and so on forever… This, like The Candidate, is an admirable film that’s impossible to truly like.

4/5