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Donmar Warehouse’s production of Shakespeare’s Macbeth, staged at the Harold Pinter Theatre in 2024, offers a bold, condensed take on one of the Bard’s most iconic tragedies. This modern interpretation strips back the traditional grandeur to spotlight the actors — particularly its leads. Does this sacrifice the narrative clarity, dampening the emotional highs and lows that give Macbeth its enduring power?
David Tennant embodies Macbeth with a magnetic intensity, his performance a masterclass in navigating the character’s descent from ambition to guilt-ridden tyranny. Opposite him, Cush Jumbo delivers a decent Lady Macbeth, her dominance gradually unraveling into a haunting portrayal of psychological collapse. Their chemistry anchors the production, especially in scenes where Tennant's palpable guilt contrasts with Jumbo's chilling resolve—a dynamic shift performed with skill by both actors.
The production’s hawk-eyed focus on Tennant does leave the supporting cast feeling underutilised. The lack of costume often blurs characters during multi-role, which is confusing for those less familiar with the play. Characters are pushed into the background, both figuratively and literally, diminishing the rich tapestry of relationships that should surround the tragic couple. This interpretation of the show plays heavily with soundscapes, and using whispers and voices to tell the story, and on numerous occasions this happens behind a glass wall directly into microphones, whilst Macbeth sits in still thought on the stage. Yes, Tennant is a skilful Shakespearian actor, but his performance alone should not be the epicentre of this complex story.
Gareth Fry’s experimental sound design introduces an ambitious auditory layer, with actors using headset microphones while the audience listens through headphones. The immersive binaural soundscape crafts an evocative atmosphere, punctuated by whispers, echoes, and disorienting reverberations that mirror Macbeth’s fractured mind. However, the execution falters; the relentless audio layering, compressed dynamics, and lack of silence create an overwhelming sound environment. With no respite for the ears, the effect becomes more exhausting than engaging, transforming the play into a two-hour listening endurance test rather than an immersive experience.
Visually, the production mirrors its auditory intensity. The dim, almost monochromatic lighting and sparse set design demand heightened focus from the audience, which can feel mentally taxing rather than enriching. Despite these challenges, the production offers intriguing reinterpretations: the three witches exist solely as disembodied voices, a clever device that externalises Macbeth’s inner turmoil. Additionally, subtle modernisations in the language make the play more accessible without betraying Shakespeare’s original text, a thoughtful touch that invites new audiences into the fold.
Ultimately, this Macbeth feels like a celebration of its star power. Tennant’s Shakespearean prowess is undeniable—few can command the stage with such precision and depth. If you’re a fan of Tennant or a Shakespeare enthusiast eager for a fresh perspective, this production offers much to admire. However, for newcomers to Macbeth, a more traditional staging might provide a clearer, more emotionally resonant introduction to the Scottish play.
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