LANGUAGE, BLOOD, AND BODIES. THE MACBETH FOR THE MODERN GROUNDLING

By Lara Kennedy | LinkedIn ⭐⭐⭐⭐ | Press Invite

Shakespeare’s Globe’s latest production of Macbeth by Deutsche Bank aims to bring the 17th Century Scottish play to life for GCSE students. Despite seeming unwilling to engage with the play, the students cannot help but be drawn in. They unknowingly become modern-day groundlings – bringing the Globe back to its rowdier days as they boo, hiss, laugh, and scream in time with the actors’ wishes. 

This particular production strips the Scottish Play back to language and bodies, with the Weird Sisters gymnastic contortions effectively conveying the unhuman, whilst remaining in the Globe-like nature of being as gimmickless as possible. The language is laid as bare as the set to the audience, whilst the exaggerated bodies ease understanding for audience members less well-versed in the play. 

The military setting seems unnecessary at first (must they carry guns and yet fight with knives?), but it lends to some very entertaining and effective stage fighting as the play progresses, some of which is particularly brutal. They plainly show the killing of several characters, including the newborn Macduffs. It is one of the few productions of Macbeth that happens to convey the character’s own ruthlessness; his death meriting a most untragic cheer from the audience. Whilst this detestable version of Macbeth himself somewhat ruins the interesting nature of catharsis you’d expect at the end of such a tragedy, it wins over the audience with a roar that is captivating and uplifting.

Hanora Kamen (Lady Macbeth) shines in this production, a league above her fellow players. She is both devoted and deceitful, mad and maddening, and commands the stage whenever she is set upon it. Her counterpart, Macbeth, is equally compelling. 

Is it the greatest production of Macbeth? No, but it is deeply entertaining and entirely fulfils its purpose of bringing the too-studied GCSE play to life for a younger audience, without losing the magic of the complex language and themes. 

Ultimately, this production thrives on its ability to bridge the gap between Shakespeare’s text and a modern, often reluctant, student audience. Rather than sanitising the play or overly simplifying its themes, it leans into the rawness of the story, allowing the violence, ambition, and supernatural elements to speak for themselves. The audience’s reaction, shifting from initial hesitancy to raucous engagement, is a testament to the production’s success in making the play feel immediate and alive. While some artistic choices may divide opinion, such as the stark brutality of Macbeth’s character or the sometimes-jarring blend of historical and modern weaponry, there is no denying that this is a Macbeth that demands attention. It is visceral, engaging, and unafraid to present the play in a way that feels both authentic and accessible, ensuring that even the most indifferent GCSE student will leave the theatre having felt the weight and power of Shakespearean lyricism.

Playing Shakespeare with Deutsche Bank: Macbeth is running at Shakespeare’s Globe until 20 April. 

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Photo Credit: Tristram Kenton