Macbeth, Queensland Theatre Company, The Playhouse, Brisbane, April 9. Cock, Melbourne Theatre Company and La Boite, The Roundhouse Theatre, Brisbane, April 9.
QUEENSLAND Theatre Company’s Macbeth isn’t set in a boardroom, or in Nazi Germany, or in the fiefdom of the Klingons. The unchanging set (Simone Romaniuk, who also designed the costumes) is a thicket of gnarled trees, Birnham Wood having already come to Dunsinane as Macbeth plays out his doomed tilt at a glory he hubristically hopes will last for generations. The men are dressed in simple battle attire, are always dirty and often bloodied. The witches are wild-haired, mud-caked creatures who slither out of the mire. Composer and sound designer Phil Slade’s opening volley of doom-laden thunder and David Walters’s shots of lightning support the louring stage picture. This is a dark and forbidding place for dark deeds.
Jason Klarwein and Veronica Neave in Macbeth. Photo: Rob Maccoll
QTC engaged Michael Attenborough, former artistic director of London’s Almeida Theatre, to direct the Scottish play and he does so with a very straight bat indeed. His Macbeth is reverent, respectful and ultra clear in the delivery of its language. No one could leave the theatre thinking Shakespeare is hard work. These are not qualities to be derided, to be sure, but they do render this Macbeth too tame and earnest. The whiff of a production suitable for high school students hangs over it.
Attenborough has a long pedigree when it comes to Shakespeare, having, among his many other eminent positions, been principal associate director of the Royal Shakespeare Company from 1990 to 2002. His Brisbane cast doesn’t lack Shakespeare credentials, but perhaps Attenborough felt those credentials were insufficiently deep. Whatever the reason, the excitement engendered by the sound and light show that introduces the play is swiftly damped down as soon as the actors begin to speak. Attenborough has them deliver the text deliberately and carefully, almost as if they were still in the rehearsal phase, teasing out exactly what each phrase means.
This makes for the utmost legibility, but at the expense of dramatic tension, individual character and intensity of feeling. What is really driving each character, how they feel, what is at stake emotionally and politically, is apprehended intellectually rather than viscerally. The savagery of this society, riven by civil war and prey to the influence of spirits and auguries, is made really quite polite. This is so even in the case of the semi-clad witches, who hiss and writhe theatrically but are over-choreographed (by Nerida Matthaei). They mostly look contrived, although it’s a nice touch to have them as hooded attendants at Macbeth’s feast where they accompany Banquo’s ghost.
In such an environment Jason Klarwein’s Macbeth has many separate moments of value but they don’t add up to a tightly woven portrait of raging, flailing ambition fatally undermined by a susceptibility to portents. Veronica Neave’s Lady Macbeth is perhaps more of a piece but is too coolly efficient – a terrifically organised headmistress type who isn’t about to reveal much about herself. Thus there is little sexual spark in the Macbeth ménage and her breakdown has a guarded quality. One was a little surprised that she would kill herself.
The highly experienced Eugene Gilfedder seemed the most at ease at the matinee performance I saw. Playing a trio of small roles – Duncan, Old Man, the Doctor – he effortlessly differentiated between them and his delivery of the text was the most naturally achieved.
Macbeth was a venture between QTC and Brisbane company Grin and Tonic Theatre Troupe, which enabled it to put a larger than usual cast on stage, and the state government’s Super Star Fund supported Attenborough’s involvement. The result is a strong, clean, handsome production that has attracted big audiences and given them a very nice night’s entertainment.
NO one comes out of Cock particularly well. John (Tom Conroy) is a character described as giving the impression of being drawn with a pencil and is as wishy-washy as that suggests. M (Eamon Flack in the Brisbane season of this MTC/La Boite co-production; Angus Grant played the role in Melbourne) is the teensiest bit over-bearing and controlling. W (Sophie Ross) is the same, only more manipulative. M’s father, F (Tony Rickards), a late entrant into the action, rounds out an unlikely dinner party and uses the occasion to deliver a homily on sexual preference.
Those who come out of it least well, however, are director Leticia Caceres and designer Marg Horwell. Horwell’s soft-furnishings set made entirely of white cushions gives a clue: Cock is ultimately flaccid, or at least it is in this production.
Mike Bartlett’s compact play, written in 2009, is composed of a series of scenes in which John is deciding whether he wants to be with M, with whom he has lived for seven years, or W, who inducts him into heterosexual pleasures after John makes his first go at breaking away from M.
M treats John as a child, but W adores him and offers the prospect of children. What to do? John is a great vacillator and liar, but no matter. What he thinks – well, he doesn’t know what he thinks. Others are more than happy to do the thinking and acting for him. In this scenario F may be seen as a kind of referee, albeit one who loads the dice in favour of M. But he’s there to outline the rules as he sees them pertaining in this day and age.
M and F are acting out a battle of the sexes with a twist and John is the weapon that keeps changing hands. The exercise of power is M and F’s sport, and they are prepared to play very dirty. John’s situation is more fluid. He is in one sense putty in the hands of both M and F, twisting and turning between them. But he’s also the prize, and in that respect is the combatants’ Achilles heel.
The man with the pencil-drawn outline – no heavier than 2B one would suggest – is only a fragment of a character, as are the others. We hear of M’s career as a broker, W’s as a childcare assistant and F’s loneliness following the death of his wife, but these are little more than are labels enabling a couple of good quips or, in the case of F, a detail that obliquely bolsters his line of argument. We can’t see the information as part of the fabric of a complex character. Caceres seems to want more, however. You can feel the pull towards humanising the players – F’s slightly sad old-guy tracksuit, all the tumbling around on pillows, M’s air of domesticity – but it only dilutes the impact of the play.
Cock is, or can be, an act of provocation – cold, hard-edged, laugh-aloud funny and irritating. John is the empty vessel into which are poured ideas about sex, love, ownership, power and desire; M, W and F pour away. The irritant factor is important, and an unusual one in the theatre. The depiction of the feminine in the shape of W is intensely vexing. The out-of-left-field sermonising of F is awkward and frankly unbelievable in any realistic context. M is something of a cliche – the well-off guy who likes everything just so – and John is Mr Cellophane. But as the punches keep on coming and the ducking and weaving goes on, the ground shifts and the raygun of one’s irritation is continually redirected.
I freely admit to having been influenced in this view by seeing, in New York, James Macdonald’s sparer than spare, gladiatorial production. It was cold as ice and a bracingly savage dissection of sexual power play.
Macbeth ends April 13; Cock ends April 12.