Conceptually,
Grzegorz Jarzyna’s relocation of
Macbeth
to the contemporary Middle East makes no sense whatever. The indigenous
population make two brief appearances, one as a domestic servant and
one as a rebel leader being decapitated by Macbeth in the opening
scene. Nor are the occupying forces particularly known for bloody
factional disputes. Yes, it is an environment of extreme and sometimes
gratuitous violence, but hardly unique in that respect. Other than
serving as a pretext for incorporating modern ordnance and video
technology, then, this aspect of the cerebral side of the production is
a washout.
Nevertheless, Jarzyna’s TR Warszawa company has opened the theatrical
side of this year’s Edinburgh International Festival with an almighty
bang… several, in fact, and if I felt the blast of flame from one
explosion seated as I was at the opposite side of Row Q in Lowland
Hall, Lord knows how infernal it must have been to those located in the
same postal district. The vast venue is required not primarily for
pyrotechnics but for a three-storey staging with ramparts, war room and
even a laundry in various areas of the panoramic set. To judge by the
surtitles, Jarzyna has retained a number of Shakespeare’s original
turns of phrase whilst generally modernising the script. Out go scenes
such as Malcolm’s pretence at wickedness, out even go the slaughter of
Macduff’s family and the invading army dressing up as trees. The
witches are collapsed into the single figure of Hecate, who both
delivers the prophecies and then reappears as a Mephistophelean
“Doctor” commenting upon Lady Macbeth’s now-waking madness.
At the centre of the maelstrom is Cezary Kosi
ński’s
stone-faced Macbeth, seldom if ever palpably in control of his own
conduct even when perfunctorily shooting dead an unsatisfactory
messenger or thug. Jarzyna’s production may not set the action in a
location that is coherent from a real-world perspective, but its
psychogeography is gripping. Forces greater than any man, greater even
than any army, buffet the current of events one way and another; the
supernatural portents in the original play are (with the exception of
Hecate and the inevitable Seyton/Satan punning) replaced by
21st-century weaponry, helicopter air strikes and the like. And
Macbeth, of course, pays the ultimate price for not having formulated
an exit strategy.
Written for the Financial
Times.