Review: Macbeth starring David Morrisey at Liverpool Everyman

by Angela Johnson. Published Fri 13 May 2011 14:20, Last updated: 2011-05-13

After weeks of anticipation, at last, Liverpool-born David Morrisey takes the helm as Macbeth at the Liverpool Everyman.

Trained as a teenage Youth Theatre member, it is Hollywood actor Morrisey's first time treading the boards at the Everyman in nearly three decades. As if this weren't enough to unsteady the nerves, in keeping with traditional pitfalls linked to The Scottish Play, this production saw leading lady Jemma Redgrave drop out just three weeks before opening night.

As such, an uncertainty hung in the humid air ahead of the last in-house production before the theatre, as we know it, closes its doors for a £28m redevelopment. The over-heated audience were almost certainly hoping a superior ventilation system will be amongst the plans.

Eyes drawn towards the striking set design, you could be forgiven for thinking demolition work was already underway as potholes and cracks litter the floor, with a deep pool of murky water at the front of the stage to successfully conjure images of the misty 'blasted heath' inhabited by three Weird Sisters. Despite the dialogue remaining true to The Bard, and, it must be noted, delivered with delicious clarity by each cast member, in a wry twist the costume designer had chosen Soviet army uniforms, placing the action a fair distance from Scotland.

Clanging metal stairwells and a huge sliding iron doorway prove remarkably versatile in transporting the audience from the wicked slaying of Duncan in Cawdor Castle, to the various battlefields between Macbeth and his conscience, to Lady Macbeth's mournful nocturnal wanderings to Macbeth's ultimate bitter demise at the hands of vengeful Macduff.

Morrisey is enthralling, shifting easily between fragility and menace, as we observe this honourable military man become consumed by a lust for power upon hearing the witches' prophesy. Followed by the wicked seed of betrayal planted with impassioned encouragement from his wife is enough to ensure what's done is done.

Despite a somewhat ineffectual initial stage presence, Julia Ford triumphed as Lady Macbeth, portraying a gripping descent into madness. An absorbing performance during which the release of a hollow guttural moan all at once depicted the mournful torment, from which we acknowledge, Lady Macbeth will never escape.

Perhaps the jarring sounds of white noise and impressive sparks of lightning which lit up the stage aided the stirring of emotions, but Morrisey and Ford's chemistry was electric. Surely owed in part to their previous work together in television, but given the brevity of rehearsal time, their believability as the murderous couple was astounding. Backed by a superb ensemble cast, with Ken Bradshaw's Banquo chilling in ghostly form and Gillian Kearney shining as both a witch and the slaughtered Lady Macduff.

Artistic Director Gemma Bodinetz must be commended for capturing the brutality of events with a healthy dose of gore. Hands stained blood red, a young boy's neck snapped, a helpless woman drowned and walls splattered with a traitor's blood all added to this daring emotionally-charged final production at the Liverpool Everyman until its rebirth in 2013.

9/10

Macbeth runs at Liverpool Everyman until 11th June. For tickets and further information visit www.everymanplayhouse.com

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