Macbeth – devizine.com

“Blood Brothers” at The Mission Theatre, Bath, March 27th-30th 2025

by Ian Diddams
images by Ann Ellison.

What can possibly be better than watching a performance of “Blood Brothers” by Willy Russell? Watching TWO performances of “Blood Brothers” by Willy Russell of course! Next Stage Youth performed their dress rehearsals at The Mission Theatre last night, and with two casts we were treated to both of them in action.

The story-line of “Blood Brothers” is easily findable on the web if required, so I won’t bore you with it here, but Next Stage Youth deliver a stripped back – but by no means lesser for it – version of the musical. With most of the songs trimmed out to create a fast paced, bare boned, breathless ninety minute production, the audience is kept fully engaged as the tale of twins separated at birth (sound familar?) takes us from city to country, working to middle class, struggles.

The set matches this approach – in the round, bare floor with clever use of eight hinged lidded boxes as prop containers, chairs, windows and walls and the actors do the rest. Clever tech from Kris Nuttal, Alex Tarasevych and Rowan Bendle, with choreography by Hayley Fitton-Cook and wardrobe by Vanessa Bishop paints all the pictures our minds need for this tale of friendship, jealousy, social extremes and madness. Voice coaches Kay Francksen and John Matthews deserve credit too for taking what are a group of West Country youth and getting them to deliver decently passable Scouse accents 😊

Principals are split between the two casts but the ensemble for both remains the same four core actors, a huge kudos to their abilities despite their young ages. I’ll wrap up with the cast lists at the end of this review, but it is more that fair to say all the casts show passion and no little assurance in delivering their characterisations as separated twins raised each side of the tracks (sound familiar?), their mothers, best friend and the wonderful narrators (more of them later!). It would be unfair to pick any of these principles out for any more praise that others but I will say I had the pleasure of seeing two generations of the Chivers family perform in two nights in two different shows and the dynasty forming is clear! Also Dilys Hughes deserves a mention as it’s the second time I’ve had the privilege of seeing her act after her appearance in “Jerusalem” recently.

The pairings of Mrs Johnston and Micky were spot on. Both the Eddie’s almost stole the show. The pair of Lindas broke all our hearts as the devoted girlfriends of both twins, while both Mrs Lyons craft the character’s descent into madness superbly – sound familiar?. And the Narrators excel in both casts, including the siblings Gully and Edith Kuenzler playing opposite each other. And another mention to the pairs of twins which are devoted to each other until Micky rejects Eddie and his best friend becomes his enemy – sound familiar?

This just leaves my appreciation of the director Ann Ellison. The stripped back show she has developed really works but it’s the little touches that really shine. The narrators appear as marionette puppeteers, controlling the characters as the story unfolds…. Sound familiar?

So those allusions of familiarity? Well, four hundred years is a LONG time in theatre… but what stood out to me again and again were the parallels in the story and developed by Ann just shout Shakespeare to me. We have twins separated at birth ( Comedy of Errors, Twelfth Night) but the clear parallels are with Macbeth… where Eddie is Banquo and Mickey is Macbeth in their friendship story arc, Mrs Lyons is Lady Macbeth in her descent into madness, and brilliance of brilliance the marionette puppeteers controlling the destiny of the characters are the Witches. Sublime. Goosebumps.

The play itself encompasses so much; it’s a story of superstitions – shoes on tables, a single magpie, prophecies of separated twins. Foreshadowing of the twins eventual demise with the use of a particular implement throughout Mickey’s personal timeline. And almost biblical allusions to two mothers – one mother giveth, the other taketh away. And Russell – and Next Stage Youth – leave us with existential queries… is Eddie patronising? Is Mickey ungrateful? Had Mrs Lyons selected the other twin would the story have ended the same – nature versus nurture? And overall it is a play that presents a very downbeat view of married life from both ends of the socio-economic spectrum, wonderfully portrayed by these young actors.

“Blood Brothers” is showing this week Thursday 27^th March to Sunday 30^th March at 19:30 with matinees at 14:00 Saturday and Sunday

Tickets from https://www.missiontheatre.co.uk/tickets?category=Blood Brothers

“Macbeth” at Cleeve House, Seend, July 1st-6th 2024

By Mick Brian
Photos by cast and arenaphotography

William Shakespeare’s tragedy, inspired by real life eleventh century Scottish kings, is well known by anybody that’s done GCSE (or even O-Level!) English I am sure, and Wikipedia can fill in the gaps, so I won’t bore you with the storyline… other than to say as AC/DC would have it “If You Want Blood, You’ve Got It” as Macbeth is enticed by three witches to pursue the throne of Scotland, and in so doing murders Duncan the king, then sees off his best chum Banquo, though fails to also finish Fleance, Banquo’s son who the witches also suggest may become king one day. Lady Macbeth is his conniving ball breaking wife, and eventually Macduff, the ultimate C-section delivery sees him off to bring Duncan’s son Malcolm to the throne.

The cast of “Shakespeare Live”, a Wiltshire/Bath based company, bring this tale of blood and sweat if not tears to life at Cleeve House which itself “hath a pleasant seat”, near Seend this week in their traditional summer outdoor production. Bring a picnic, sit beneath cover for the show lest it rains or on a blanket as a groundling, and watch this talented cast do dastardly deeds and much plotting, set against the beautiful Wiltshire countryside as a background. Directed by John Jameson Davis, he brings this four hundred year old play to vibrant life. The tech team of Alex Latham, Oscar Davis, Richard Carter and Martin Moffat produce such atmosphere especially in Act 2 as darkness descends… Macbeth as a play is set mainly at night-time, so the sun disappearing right on cue as the west yet glimmers with some streaks of day is sublime.

The set is simple yet effective – that Wiltshire backdrop provides everything that’s needed, with hints of Wiltshire presented in one corner that tie in with the witches perfectly – you’ll need to come and watch it to see what that is 😊

Our main man is superbly played by Laurie Parnell, brilliantly combining with Stephanie Richards as Lady Macbeth. The two of course see off Duncan, imperiously played by Gill Morrell. Faithful, then not so faithful thanes are provided by Simon Reeves as Lennox, Taruna Nalini as Ross, Bryce Collishaw as Monteith and Graham Paton as Caithness, aided and abetted by Josh Phillips as Macduff, and Francis Holmes as old Angus. Somebody has to do all the sundry stabbing and Ian Diddams as Seyton and Bryce Collishaw as accompanying ne’er do well provide the means to a sticky end seeing off Oli Beech as Banquo, Charlie Aldred as Young Macduff and Kerensa McCondach as Lady Macduff. Centre stage of proceedings of course are three witches… suitably manically presented by Phoebe Fung, Penny Clegg and Andy Cork. Gentlewoman Lydia Harman-Verrell and Doctor Roger Hames provide for Lady Macbeth’s wellbeing, and it’s all mopped up in time for Sarah Horrex as Malcolm to finish it all of with a rousing speech… though Fleance – Charlie Aldred again – is never far away… Its not all darkness, blood and tragedy of course – Graham Paton wades in with some welcome comic relief and the obligatory Shakespearian knob-gags as the philosophical and equivocating Porter.

Costumes are sublime – Hermione Skrine, Caren Felton and Helen Holliday have superbly dressed the cast in “borrowed robes”, and there are no “strange garments” to be seen!

So dust off your O-Levels and GCSEs, grab a friend or three, a blanket, a picnic, and come and enjoy a well presented tale of power, greed and witchy shenanigans in the beauty of the Wiltshire countryside.

“Macbeth” is performed at Cleeve house, Seend from July 1^st to July 6^th at 8pm, as well as a Saturday matinee at 2pm.

Tickets are available from https://www.ticketsource.co.uk/shakespearelive

The Rondo Theatre does Macbeth

Review by Mick Brian

Photos by Gail Foster

“It will have blood, they say; blood will have blood.” So says Macbeth to Lady Macbeth following his vision of Banquo’s ghost….

And audiences at the Rondo Theatre Company’s performances of the titular show last week were not deprived of that substance. From slit throats, gory locks and shirts, to bloodied faces, neckerchiefs and a finale of a trail of blood as Macbeth’s body is unceremoniously dragged from his home, there was no letting up of the blood (pun intended) throughout the riveting two hours of the show.

Directors Matt Nation and Will Jesmond de Clermont’s vision of a 1920s London organised crime gang setting delivered – Peaky Blinders meets William Shakespeare with a gritty, no holds barred presentation of violence inherent in the struggles for supremacy, whether over rival gangs, traitorous turncoats or internal seizure of power and the retributions to maintain power. But this was no pastiche of Tommy Shelby and Co. – this was full Shakespearian tragedy brought into the 20th century brilliantly. Chrissy Fryer’s costumery sublimely captured the era with tweeds, caps, flapper dresses and the ubiquitous used of orange gang colours throughout as neckers, ties, hair ribbons and pocket handkerchief. And no more so that the thoroughly perfect witches, played by Sophie Kerr, Tasha Bye and Anna McGrail, as drug addled opium den management resplendent in flapper dresses, overseen by the powerful Maria Finlay as Hecate.

Set design was simplistically excellent. Duncan’s gangland headquarters a timber merchants’ front – the Birnam Wood Co. of course – and a gauze separated backstage area for the opium den. Which brings further praise for the lighting from Andy Cork, with the dark, sombre mood of the play enhanced by subtle changes… accompanied by the brightness of the opium den to display the rich colours of the silks and drapes therein.

And so to the rest of the cast. Not a single weak member – all thoroughly convincing and believable, fronted by the perfect pairing as Sam Fynn as Macbeth, and Alice Grace as his scheming, power hungry wife. We all looked to the lady as she ensnared her uncertain husband, then dealt with the lecherous and seedy Duncan in turn and tidied up the mess left by Macbeth. Sam Fynn portrayed the slide into madness perfectly as his world collapsed around him, culminating in his torment when Lady M kills herself. I challenge anyone to find a more harrowing depiction of these power crazed lovers, one coldly calculating, the other increasingly crazed.

Rob Finlay played the jovial Banquo who realises oh too late that he is on the hitlist, then the battle hardened and focussed Siward – once he had shaken his gory locks and broken the good mirth at the banquet of course. Maria Finlay as well as Hecate provided wonderful comic relief as the porter cum cleaner – and invented a whole new scene as an epilogue swabbing the floor of Macbeth’s blood. To complete the family set, Freddie Finlay in classic casting style played Fleance, Banquo’s son, as a no mean wielder of a razor himself.

More double up casting saw Steve Brookes as the contemplative, pipe smoking Menteith and a murderer, enacting Macbeth’s violent requests with his fellow despatcher, Ian Diddams. Praise is needed here especially – the fight scene between these two, Banquo and Fleance left no holds barred with stabbings, slicing, punches, and the razored throat cutting. As well as murdering at the drop of a surly hat, Ian Diddams opened the play as Duncan – far from the oft played kindly benevolent leader, this was a nasty, lecherous characterisation fully deserving of losing his life – and fully fitting the gritty vision of the directors.

Thence to Ross, played by Becky Waters, and Lennox , Natalie Prescott, two increasingly disillusioned gang members, And Jack Strawbridge as Malcom, whose journey moved from uncertain, shy son of Duncan to assertive, and even nastier eventual victor, his metamorphosis highlighted by the wash of red light in his victory speech… all that was needed was unfurled swastikas to finalise the image portrayed. Lady Macbeth’s doctor was elegantly and eloquently portrayed by Julia Marshall-Wessendorf… all crisp and professional demeanour, not totally supressing the disquiet and concern beneath. Two further younger cast members joined Freddie Finlay in the show also – Dilan Minto as the brave but doomed Young Siward, hatred for Macbeth pouring from his every pore, and Scarlett Nation, the youngest cast member effortlessly working her way through servant, messenger and slaughtered pretty chicken of Macduff.

And speaking of Macduff… Lucy Upward played the angry Lady MacDuff, remonstrating against the ills of the world as an abandoned wife… and screaming her way to her death before brilliantly appearing as a west country maid to the Lady of the house. Which leaves the hero of the hour… MacDuff himself, silkily played by Chris Constantine exacting revenge for his family’s slaughter by seeing off the chief protagonist in a slashed throat and streak of blood left on set.

Two hours of non stop action delivered at a frenetic pace. Two hours of truly class acting and technical presentation – the piece de resistance being the genius portrayal of Banquo’s lineage of kings presented to Macbeth by the witches. And this is “amateur” theatre – some bloody amateur production that was I say (NOT!) … and bloody they were indeed by the end.