MACBETH
Abhinaya’s Macbeth (dir. Jyotish M.G.; with D. Raghutaman as Macbeth, Athira as Lady Macbeth)
Review by Ralph Yarrow
I saw this at Abhimanch, NSD, on Jan.9 2009.
Excellent use was made of inventive staging, involving large mirrors reflecting the protagonists, subtle entrances and exits, use of swathes of material, striking costumes for the chorus, simple but effective ramps and an imaginatively conceived and effectively used set of severed Banquo heads in the banquet scene. The twin video screens presented surprisingly impressive effects, mostly oblique representations of key motifs (introspection, hand-washing, birds in flight, the dagger – the latter mercifully suggestive and brief). The sound – haunting music with strong moments of intensity and menace, choric speaking amplified at appropriate moments – was also well used and contrasted effectively with the non-amplified speech of the main characters, as though they were battling the elemental forces around them. Lighting was also good.
The text was edited down to key monologues and encounters; the play ended after Lady Macbeth’s death. But the intention signalled in the programme, to explore the emotional dynamic of the characters, was clearly and potently realised throughout. Every scene was fully materialised both physically and emotionally; key moments were strikingly rendered through movement, choreography and expressive gesture. Even without Malayalam, I was never at any loss to know exactly where I was in the play; the actors’ work on articulating atmosphere and action in terms of rhythm, pitch and volume, body position and movement was thoroughly engrossing. Particularly strong effects were the sinister hoods of the ‘witches’, the mime/tableau of Duncan and his retinue, the crowning of the Macbeths, the ‘river of blood’ following Banquo’s murder, the guests morphing into a ghastly collection of Banquo-doubles, the elevation of Banquo’s descendants, Lady Macbeth’s dervish-like invocation of the powers of darkness, and a savage sexual encounter between Macbeth and his wife after the murder. The multi-role chorus was brilliantly controlled and choreographed; the two leads were intense and totally focused.
The conception was strong enough to stimulate a new vision of the play, initially engendered by the ‘reflection’ motif: it opens up an engagement with the extent to which Macbeth is about not wanting to ‘reflect’ or interrogate oneself, about the continual juxtaposition of choice, action and unavoidable interrogation of the consequences. The protagonists are always shown seeing themselves, and traumatised at what they see. Their denial is imaged in different and appropriate ways: Macbeth’s in his head-down refusal to look, Lady Macbeth’s in her increasingly violent attempt to drive the action, to goad Macbeth for his ineffectiveness; which plausibly generates her breakdown. It is also hauntingly evoked by the final image of Lady Macbeth, even after her death, as a ‘floating’ corpse still vainly washing her hands.
This is a visually and sonically stunning production with some riveting theatrical moments, brilliant movement and striking body-images.
Ralph Yarrow
Review by Ralph Yarrow
I saw this at Abhimanch, NSD, on Jan.9 2009.
Excellent use was made of inventive staging, involving large mirrors reflecting the protagonists, subtle entrances and exits, use of swathes of material, striking costumes for the chorus, simple but effective ramps and an imaginatively conceived and effectively used set of severed Banquo heads in the banquet scene. The twin video screens presented surprisingly impressive effects, mostly oblique representations of key motifs (introspection, hand-washing, birds in flight, the dagger – the latter mercifully suggestive and brief). The sound – haunting music with strong moments of intensity and menace, choric speaking amplified at appropriate moments – was also well used and contrasted effectively with the non-amplified speech of the main characters, as though they were battling the elemental forces around them. Lighting was also good.
The text was edited down to key monologues and encounters; the play ended after Lady Macbeth’s death. But the intention signalled in the programme, to explore the emotional dynamic of the characters, was clearly and potently realised throughout. Every scene was fully materialised both physically and emotionally; key moments were strikingly rendered through movement, choreography and expressive gesture. Even without Malayalam, I was never at any loss to know exactly where I was in the play; the actors’ work on articulating atmosphere and action in terms of rhythm, pitch and volume, body position and movement was thoroughly engrossing. Particularly strong effects were the sinister hoods of the ‘witches’, the mime/tableau of Duncan and his retinue, the crowning of the Macbeths, the ‘river of blood’ following Banquo’s murder, the guests morphing into a ghastly collection of Banquo-doubles, the elevation of Banquo’s descendants, Lady Macbeth’s dervish-like invocation of the powers of darkness, and a savage sexual encounter between Macbeth and his wife after the murder. The multi-role chorus was brilliantly controlled and choreographed; the two leads were intense and totally focused.
The conception was strong enough to stimulate a new vision of the play, initially engendered by the ‘reflection’ motif: it opens up an engagement with the extent to which Macbeth is about not wanting to ‘reflect’ or interrogate oneself, about the continual juxtaposition of choice, action and unavoidable interrogation of the consequences. The protagonists are always shown seeing themselves, and traumatised at what they see. Their denial is imaged in different and appropriate ways: Macbeth’s in his head-down refusal to look, Lady Macbeth’s in her increasingly violent attempt to drive the action, to goad Macbeth for his ineffectiveness; which plausibly generates her breakdown. It is also hauntingly evoked by the final image of Lady Macbeth, even after her death, as a ‘floating’ corpse still vainly washing her hands.
This is a visually and sonically stunning production with some riveting theatrical moments, brilliant movement and striking body-images.
Ralph Yarrow
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