Monday, April 20, 2026

The Best Bits

As I hope I made clear yesterday, Randai Macbeth was all good in this spectator's eyes, but I'll have a go at specifying the best bits by way of a clumsy review: 

The bits where the musicians came in suddenly (musically, I mean, and usually loudly) at the completion of a scene/act/segment, ensuring a rapid pace forward; the bits where the super-athletic chorus moved in snappily, crisply, synchronised fashion, creating their own sound effects with clapping & cries; the bit where King Duncan's corpse was carried out, but it wasn't a body, it was just a cleverly folded piece of white cloth that shrouded the unseen late king; the bit where drops/streaks of red stuff streamed repetitively across a screen above the stage action during the aforementioned murder; the bit where Lady M smiled knowingly in melodramatically hypocritical style towards the audience (getting a few laughs, and rightly so) having feigned innocence after the murder as suspicions mount; the bit with the beautifully choregraphed killing of Macbeth by his nemesis Macduff, suggesting something like a genuine slaughter; the bits featuring the manically over-the-top witches, fairly glowing with unsettling intensity; the bit where Banquo's ghost came, looking down the tunnel of the chorus at the king, in a nicely underplayed sequence, wisely eschewing the manifold melodramatic possibilities for once; the bit where the actor playing Macduff performed the set-piece introductory speech, with details of the theatrical traditions involved, and suitable apologies for any short-comings on the part of the performers (at which point I decided I wouldn't mind being cast as Macduff myself & getting the speech); the bit with Macbeth sprawled very dead at the end (but keeping his head) in a neat, unshowy, but striking little tableau.

Need to stop there. Take it from me, it was top rate stuff. I loved every minute. (And I just completely forgot to reference the great songs interspersing the action!!) 

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