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Stars explained: * A production of no real merit
with failings in all areas. ** A production showing evidence of not
enough time or effort, or even talent, and which never breathes any real
life into the piece – or a show lumbered with a terrible script. *** A
good enjoyable show which might have some small flaws but has largely
achieved what it set out to do.**** An excellent show which shows a
great deal of work and stage craft with no noticeable or major
flaws.***** A four star show which has found that extra bit of magic
which lifts theatre to another plane. |
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Macbeth
The Nonentities
The Rose Theatre, Kidderminster
***** MACBETH is one of Shakespeare’s shorter
plays and, as plots go, it’s not complicated. One man’s ambition to become King is fulfilled by
a string of murders that lead to his own end. Are the witches, ghosts
and aspirations he encounters a product of a scheming or guilty mind?
Only you can decide, but, what is real, is that this play is one
considerable challenge to stage and produce well. The language is complex even if the plot is not
and the detailed talk of politics, treason and mystical prophecy all
needs careful direction, not to mention confident performances to get
anywhere near doing the work justice. It was with some relief then that The Nonentities
in every part, to use a younger person’s, but fitting phrase, `killed
it’, which is to say they were beyond excellent. In 2016 several of the
company members were part The RSC’s play for the nation in
A Midsummer Nights Dream.
The experience seems to have electrified them
with renewed skill and confidence as it seemed that everyone had decided
that this was their chance to shine both individually and as a company.
Alex Powell, who only
at Christmas was the fresh faced school boy in
Fleet Street Nativity,
now has grown both a full beard and his performance, taking on the manly
role of Macbeth. He never flinched in depth or subtlety in his portrayal
of the fated young King. From moments of quiet introspection to powerful torrents of anger, he seemed transfixed on delivering his best work. Even when parts of the full house, which consisted mostly of a local school, sniggered immaturely at some innuendos or action, neither he nor any of the rest of the cast broke their concentration.
Matched in intensity was Rebecca Williams as Lady
Macbeth. Her scheming ambition to further her husband’s murderous acts
was deliciously macabre as was her fall into madness wandering the
night, lit only by handheld torchlight. Banquo was played by Sue Downing who seemed to
have a casual mastery of the part and Shakespeare in general and was a
delight to watch doubling up as The Doctor. Whilst taking nothing away from the skill of the
other performers, the presence and experience of Richard Taylor as
MacDuff must be a reassurance and a curse in knowing that he will always
deliver but that you mmight just be compared to his performance. His
range is always exceptional and when learning as MacDuff that his wife
and children are murdered his performance was genuinely emotional. Tom Rees as Lennox and Patrick Bentley as King
Duncan also delivered mature performances as did Andy Bingham and Chris
Kay both with strong performances as the implicated sons of the murdered
King Duncan .The trio of weird ladies came in the form of Charlotte
Moseley, Hannah Tolley and a very brave Kieran Dockerty all decked out
in trashy, basques, high heels and fishnets. They certainly were
bewitching. Judy Bassett certainly enjoyed her key solo
moment as the Porter holding the audience with her Knock Knock jokes
from the audience floor.
There were superb support performances throughout
but one small mention must go to the young Rose McCarthy as the young
Charlie MacDuff. Her scene with her mother played by Charlotte Mosley
was only short but focused and very genuine and she shows great promise. Jen Eglintons simple yet bleak set design was
very effective and Director Stephen Downing has shown great skill in
bringing this play to fruition. His part with RCS’s Play for the nation
in 2016 seems to have given him the vision to produce something worthy
of Stratford. For purists there might be some critisms or minor
points to discuss but it must be remembered this is amateur stage with
limited time and budgets but by no means limited talent. I used to say
that the only place to see Shakespeare was in Stratford with the RSC but
I can now add The Rose with The Nonentities to the list. Consider the
bard raised. To 04-03-17 J 28-02-17 |
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