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burntcopperGot up at horrendously early hour on saturday (look, 7:30am is not meant to exist on the weekend. Unless you're camping.) to catch train to Liverpool. Dozed most've the way, finally snagged coffee at Lime St. The Caffe Nero bloke was far too caffeinated. And had managed to sell Air guitars on ebay. (with feedback of A*.) Admittedly most impressive. Met up with Ingrid, pootled in direction of Everyman theatre, and got whammied by the sight of the Catholic cathedral. (it sneaks up on you - you don't see it until you're most've the way up the street) Blimey that's one impressive piece of architecture. Looks like a wigwam on the outside with interesting sculpture friezes, but on the inside it's all light and amazing stained glass as the chimney. With added bits of art in the stations around the edge. Worth it just for the stained glass. Gossipped about weddings over a drink, had to leg it to the theatre as it was 1:55pm, settled in for play.
Good Macbeth. Standard mish-mash of military/general war-torn bleakness with added rusty doors. Costuming - Eastern European greatcoats and army surplus with bits of chainmail and touches of medieval for Duncan and Lady Macbeth when she becomes queen. Nice touch at beginning of a table/map lowered from ceiling with markers for troop formations that the witches were pushing about. And the pool/cauldron was a crack in the floor over an exposed pipe with cables that occasionally sparked. This also enabled them to use an old tv to do projections for the ghosts scene in Act 2.
Lady Macbeth (Julia Ford) did a nice line in ... not so much ambitious as seizing the chance when it came and knowing that she has to shove her husband occasionally, and not playing it sexual during her main speech. relationship between her and Macbeth is very fond more'n anything. Exasperated over Macbeth not remembering to implicate the servants in Duncan's murder. A bit harassed but in control, and visibly upset/pissed off when Macbeth has his fit over Banquo's ghost.
David Morrissey as Macbeth was great, as you'd expect. Very David Morrissey. Noble, exasperated, cares of the world on his shoulders. Better when he gained the throne, since his Macbeth was a bit unsure prior to that, and it didn't come off quite as well. Once he gained the throne, boy did control suit him. It was like he jumped a level in believability and acting.
Everyone else very good. Special mention to Gillian Kearney who was totally unrecognisable as one of the witches and a little lost and resigned as Lady Macduff - you really felt her 'but where shall we go?' line as she realises the assassins are about to break into the castle. As ever, their slaughter always makes the audience jump and gasp. There's something about that scene. In this case, it was done very clinically - young Macduff has his neck broken quickly, and she gets drowned in the pool.
Very doddery Duncan, very weak and a bit unsure of himself Malcolm (looked and played it a lot like Brutus in Rome). Porter was interesting - very old, scarecrow-like and in bowler hat and tails that were too short for his limbs. Only real off note was Ross - his tones were too rounded and ringing for this production, where everyone else was Liverpudlian, shades of Northern or lowland Scots.
Oh, and when hanging around in front, David Morrissey came out and he's lovely. Hijacking people's pens, and yes, dear reader, I has photo.
Good Macbeth. Standard mish-mash of military/general war-torn bleakness with added rusty doors. Costuming - Eastern European greatcoats and army surplus with bits of chainmail and touches of medieval for Duncan and Lady Macbeth when she becomes queen. Nice touch at beginning of a table/map lowered from ceiling with markers for troop formations that the witches were pushing about. And the pool/cauldron was a crack in the floor over an exposed pipe with cables that occasionally sparked. This also enabled them to use an old tv to do projections for the ghosts scene in Act 2.
Lady Macbeth (Julia Ford) did a nice line in ... not so much ambitious as seizing the chance when it came and knowing that she has to shove her husband occasionally, and not playing it sexual during her main speech. relationship between her and Macbeth is very fond more'n anything. Exasperated over Macbeth not remembering to implicate the servants in Duncan's murder. A bit harassed but in control, and visibly upset/pissed off when Macbeth has his fit over Banquo's ghost.
David Morrissey as Macbeth was great, as you'd expect. Very David Morrissey. Noble, exasperated, cares of the world on his shoulders. Better when he gained the throne, since his Macbeth was a bit unsure prior to that, and it didn't come off quite as well. Once he gained the throne, boy did control suit him. It was like he jumped a level in believability and acting.
Everyone else very good. Special mention to Gillian Kearney who was totally unrecognisable as one of the witches and a little lost and resigned as Lady Macduff - you really felt her 'but where shall we go?' line as she realises the assassins are about to break into the castle. As ever, their slaughter always makes the audience jump and gasp. There's something about that scene. In this case, it was done very clinically - young Macduff has his neck broken quickly, and she gets drowned in the pool.
Very doddery Duncan, very weak and a bit unsure of himself Malcolm (looked and played it a lot like Brutus in Rome). Porter was interesting - very old, scarecrow-like and in bowler hat and tails that were too short for his limbs. Only real off note was Ross - his tones were too rounded and ringing for this production, where everyone else was Liverpudlian, shades of Northern or lowland Scots.
Oh, and when hanging around in front, David Morrissey came out and he's lovely. Hijacking people's pens, and yes, dear reader, I has photo.
