Review: MACBETH at Grand Théâtre

For our first show of the season, Broadway World attended the premiere of MacBeth, hosted by our esteemed Grand Théâtre of Luxembourg. Directed by Richard Twyman, the play gathered a relatively small cast in a small setting, and yet managed to achieve a level of artistic depth not often observed in modern adaptations of Shakespeare. When the atmosphere on stage and the acting are this good, the almost exclusive use of contemporary outfits, scenery and props will hardly ever clash with Shakespearean dialogue - showcasing not only the talent of the company, but also the timelessness of this centuries-old masterpiece.

The gold: Lady MacBeth. Let us be fair, if you are a good actress, you will very likely be the best thing about MacBeth. This character is just that fascinating. In this case, however, Laura Elsworthy was not just good, she was amazing. Few words will do her justice, and while her acting by no means diminishes the talent of the rest of the cast, her performance was simply top notch. The descent into madness had not only a visceral impact, but a sickening poetic beauty that I am sure touched everyone in the audience.

Laura Elsworthy as Lady MacBeth" height="400" src="https://cloudimages.broadwayworld.com/upload13/2273022/1_ETT%20Macbeth%20at%20Shakespeare%20North%20Playhouse%2C%20Laura%20Elsworthy%20%E2%80%93%20The%20Other%20Richard.jpg" width="800" />

The silver: The chemistry on stage. This was particularly felt between the MacBeths, but the entire cast seemed, all across the board, to have a great chemistry. From glances to body language, it was all in the details, the small things that almost go unnoticed when well executed, but that leave you with the feeling that you are not only watching something real, but also deep and meaningful. Pats on the back between brothers in arms, carrying a child with fatherly concern across the stage, or jumping lovingly onto your husband’s arms. Most noteworthy, perhaps, was the evolution of the body language between Mike Noble (MacBeth) and Laura Elsworthy, going from an almost erotic forehead-on-forehead dialogue to the level of toxicity that does not even allow for eye contact. Chilling.

The bronze: The construction of the narrative. It is hard to address this point without spoiling it for the readers, but let us just say that the projection of video clips created a very interesting new layer of storytelling. This, along with Twyman’s approach to the witches, where Mike Noble absolutely stole the show, gave this version of MacBeth its own unique personality.

As usual, our thanks to the Grand Théâtre and everyone involved.

To reach out to the writer: nuno.de.sousa.lopes@gmail.com
Photo Credit: The Other Richard

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