Exceptional Shakespeare: David Tennant and Cush Jumbo’s MacBeth

David Tennant may walk 500 miles to present the BAFTA’s; I would venture to walk 500 more just to see another broadcast of the filmed Donmar Warehouse and Harold Pinter Theatre production. Sadly as the play was cancelled for me in-person due to cast sickness, it was wonderful to see this unique production in its filmed glory. I am keen to walk less than 500 miles to just see it again at a cinema as unfortunately some of the audience decided they were gonna mutter chat through most of it during the showing. Shut up (Da-da da da (Da-da da da) — Tennant is in the house!!! filling the screen (and speaking!) Instead, I didn’t want to go along with them and wanted them to instead to fall out the door!*

Again, another stripped back UK production with textured tones of white and black clothing contrasts and minimal props, this production really works. We got a real sense of the Scottish court and the Scottish culture at the heart of it — there were even leather kilts! And reels in the court celebration before the killing starts.

Washing becomes another theme as MacBeth begins the play by ritually washing all the gore of the battlefield off of him before welcoming his King, to his humble home…and to death. Throughout, clean and unclean are contrasted.

Rather than a filmed stage version, this was very much a film of the play as David Tennant’s MacBeth broke the fourth wall — engaging us the audience and the camera with his increasingly troubled and guilty thoughts. What was it all for? Was the murder even worth it?

Cush Jumbo’s Lady MacBeth was very keen to do the deed, urging her reluctant and yet power obsessed husband into plotting murder. Even rebuking him when he does the job badly by bringing bloody weapons back with him. Contrastingly, we began to see her guilt eat away at her — visiting the targeted soon to be killed mother and wife, and in sadly, desperately washing her uncleansed hands in her sleep. Luminous, she increasingly sought light and forgiveness from what she had instigated.

Tennant’s MacBeth was a mixture of murderous jealous rage and guilt; increasingly baffled by the witches prophesy. This production is haunted not only by the spirit of Banquo (who doesn’t appear here — instead being ‘seen’ by MacBeth) but by children and by a spiritual world. Using a glass cabinet to the side of the stage, witches, spirits and children effectively haunt the production, as well as conjuring up a healing and living Burnham Wood at the end.

We also get something of the soundscape utilised by the production and the integrated Gaelic music and song. Then there’s swordsmanship as MacBeth single-handedly fights everyone, only to meet his come-uppance in a fulfilled prophesy which he thinks is impossible to be made real.

Pity the King MacBeth will soon murder. Rend your heart to the cries of the baby as MacBeth’s murderous moments play out. Not sure about the very sweary Porter who spent a lot of time heckling the headphone clad audience — however, he provided a charismatic filler for the rest of the cast to rest and reform. And riffed on the Shakespeare line by telling lots of audience participation ‘knock-knock’ jokes. For this is such an ensemble piece and throughout, great diction and speaking — for the words, not just the play are the thing!

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*With deepest apologies to Proclaimers lyrics*