Plymouth Pavilions - Friday 13th February 2004
 
NEWCOMERS TO SHAKESPEARE EASED IN
 
There are dozens of ways of approaching Shakespeare's plays. That's one reason why his work still blazes 400 years after his time. And this company's production style makes a first-class introduction for newcomers to his writing, while at the same time offering fresh insights for those more familiar with the plays.

It works well with comedies like A Midsummer Night's Dream and Twelfth Night, staged here last year and in 2002, but what about tragedies like Macbeth?

Have no fear. The mix of Shakespeare's text with today's language ensures that much of the poetry remains while the narrative sweep is always clear. And just to help, after the interval there's an added sequence in which two characters review the events so far, so we have the opportunity to catch up on any elusive point.

The music and songs, mostly rock-based and ballads, mesh in extremely well, especially in furnishing characters with musical soliloquies, and for the weird sisters whose gyrations at times become almost orgiastic.

Shakespeare broke the pervading gloom with a lighter monologue for the lugubrious Porter. Here in an extended solo spot he clowns and engages directly with the audience. There are lots of knock-knock jokes, and lavatorial humour, but maybe the prominence afforded him was excessive. On the other hand, he went down exceedingly well with the young audience.

Leading roles are well handled, with Steve Paget as Macbeth clearly besotted with his wife, and Michelle Connolly's Lady Macbeth equally clearly a baddy right from the start.

Both are in excellent voice, but the singing of the whole cast is a high spot, particularly when in stirring patriotic chorus.

A simple set of castle gateway and two towers, plus atmospheric lighting and sound effects, complete this excellent production.
 
(c) Evening Herald, 2004