News, analysis and comment - performing arts |
Song of the Goat Theatre’s production of Macbeth in the Pit at the Barbican isn’t really. Isn’t really a production of Macbeth. What is it then? It is hard to say.
According to the Barbican blurb: “This is Shakespeare’s tragedy retold through an intricately crafted blend of text, movement and polyphonic song. Presented by an international ensemble of eight exceptional performers, the production explores the musicality and muscularity of Shakespeare’s poetry and the colours and sounds of his extraordinary language.”
You will be pleased to learn that the company’s 70-minute spectacle of sound, song and swirling swordplay is a great deal less impenetrable than this review of it. Song of the Goat seek to conjure a complete theatrical experience by engulfing Shakespeare’s text into ‘the ceaseless flow of energy of the actors in performance'.
The problem for Bardophiles (and I count myself as one) lies in determining the success of their endeavour: Shakespeare’s wonderful lines are prevented from working their particular magic by the sheer volume of theatrical talent on display. Movement, rhythm and Corsican polyphonic chants are interwoven with live kayagum music (a Korean stringed instrument) while an ensemble cast use wooden swords, candles and their own bodies to fashion strong stage pictures from a set of elegantly carved and curved wooden uprights.
In fairness to the company, their production is billed as ‘Song of the Goat Theatre’s Macbeth’ rather than ‘Macbeth by William Shakespeare’ and the running time alone should alert any Shakefan worth his salt to the fact that it certainly won’t be all five acts (not necessarily a bad thing).
Having said that, if you are unfamiliar with the plot of the Scottish play then you may struggle to make sense of what you’re seeing - but, as engaging audiences in an active process of making meanings is what the company does best, it might be an advantage not to be haunted by ghosts of Macbeths past when you go. And go you most certainly should – if only so that you can help me work out what this Macbeth is. Or isn’t.
Macbeth
Song of the Goat Theatre
3 - 20 November 2010 / 19:45
The Pit, Barbican Centre
http://www.barbican.org.uk/theatre/event-detail.asp?ID=11061>
David Trennery studied English and Drama at Nottingham University, Theatre Directing at Drama Studio, and has worked on a variety of fringe productions in London and Edinburgh and the odd film.
E: editor@artshub.co.ukBelinda Liversedge 29 Jul 2011
THE OLD VIC: Sam Mendes directs Kevin Spacey in this bravura production of Shakespeare’s timeless play.
Mariyon Slany 16 Feb 2011
FRINGE WORLD: A comedic thesis in pop dialectics covering the great pairings from Brandy and Monica to Freddie Mercury and What’s-her-face Operabitch.
Wiktoria Kwasniak 18 Nov 2010
CHRIS POTTER: A musical prodigy who had his first professional jazz gig at the age of 13, he was also the youngest recipient ever of the prestigious Danish Jazzpar Prize, which is one of the most respected awards in the jazz ...
Belinda Liversedge 13 Nov 2010
THE TRAIN DRIVER: There’s a shock, or a twist at the end of the play, which I won’t spoil by revealing here. Suffice to say, it sent chills down the spine and was not expected. You cannot help but be shocked reading the ...
Duncan Robertson 2 Nov 2010
FEAR OF QUEER: It was an ensemble piece where every player performed well and, although this review has only mentioned two for simplicity, everyone involved gave a fantastic performance. It was clear that the play had been ...
Duncan Robertson 29 Oct 2010
BLASTED: has not been performed in London for nearly a decade but with Sean Holmes’ production at the Hammersmith Lyric it seems it has finally found a suitable home with a terrific cast to boot. Let’s just hope that this ...
Caroline Taylor 21 Oct 2010
BLOOD AND GIFTS: The impressive play script is animated magnificently by a stellar cast. The lead is the largely unflappable and shrewd American CIA agent, James Warnock (played by Lloyd Owen), whose Achilles heel is his ...
Duncan Robertson 18 Oct 2010
DEATHTRAP: Rob Howell’s set design is truly terrific. The staggered geometry of the one room in which all the action takes place is incredibly well thought-out and with Bruhl’s festoonery of weapons all menacingly placed ...
Duncan Robertson 14 Oct 2010
KRAPPS LAST TAPE: Beneath its deceptively superficial exterior the play is the most poignant of Beckett’s oeuvre – full of autobiographical allusions – and a complex and cathartic treatise on the relationship of memory to ...
Suresh Patel 14 Oct 2010
BROKEN GLASS: The ‘political’ in Miller, and all good playwrights, is expressed on the stage through the decisions certain people make when faced by certain obstacles in certain environments. It is achieved through human ...
5 Oct 2010
DEPARTURE LOUNGE: Why do we say gay, what really happened that Thursday evening on a pub crawl night out in Malaga and how can a picture book replace a family? Spotlight on a group of young school leaver Brits on tour stuck ...
David Trennery 30 Sep 2010
LES MISERABLES: It’s worth the ticket price just to hear Owen Jones sing ‘Bring Him Home; and if you aren’t, at the very least, blinking furiously by the end then make an appointment at your local hospital to get the stone ...
Duncan Robertson 27 Sep 2010
THE EAR OF A DRUNKEN MAN: The songs are short, melodic but pared-down, bleak but ultimately hopeful. It’s an intense and deeply personal affair, but somehow it’s also very accessible.
David Trennery 30 Aug 2010
OLIVIER THEATRE: Toby Stephens is at his imperious best as the swaggering, eponymous hero while Eliot Levey very nearly steals the whole thing with his complex, compelling portrait of a sociopathic Robespierre.
David Trennery 30 Aug 2010
REGENTS PARK: A musical amalgamation of fairy tale characters in which Red Riding Hood encounters Cinderella, Rapunzel, a witch and a bigger, badder Wolf than most of us will remember from childhood.
David Trennery 5 Aug 2010
OLIVIER THEATRE: Moira Buffini’s Welcome to Thebes re-imagines the disastrous aftermath of the fall of Oedipus in a 21st century environment by replacing Theban King Creon with his wife Eurydice.
David Trennery 27 Jul 2010
FINBOROUGH THEATRE: 'Lingua Franca', Peter Nichols’ play at the Finborough theatre until 7th August, follows the fortunes of Steven Flowers (antihero of 'Privates on Parade') in fifties Florence.
David Trennery 27 Jul 2010
SHAKESPEARE'S GLOBE: The Henry IV plays are not really about the eponymous King. They explore the making of a monarch by following Prince Hal, the future King Henry V, from his wild youth under Falstaff’s wing through ...
David Trennery 2 Jul 2010
Morte d’Arthur tells of the sword in the stone, the consolidation of Arthur’s positon as King of Britain and the establishment of the round table.
David Trennery 1 Jul 2010
SHAKESPEARE: Caught between desire and duty Antony and Cleopatra's affair shook the foundations of the world. Power politics and passion collide in Shakespeare's captivating tragedy.