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Press Coverage:

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"Any parties coming to this production will not leave disappointed for it is solid, clear and accessible"
"The concept is excellent: a bare, multiple-levelled scaffold providing a contained and constant backdrop without stealing the focus from the actors; earthy costumes (futuristic- medieval best sums them up, ranging from leather boots and smocks to a shiny gold dress for Lady Macbeth); moody lighting on a generally dark stage. All this contributed to a strange, claustrophobic, ‘other’ world infused with black magic and ancient ritual which only opened out with the arrival of Burnham wood, dramatically lit at the very back of the stage, at the end of the second half."
"The music overall (composed by Jon Boden) was fantastic. Drumming and rich; polyphonic male voices were used judiciously, enhancing rather than detracting from the action, so rare in the theatre."
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"Macbeth’s frequent asides to the audience were effective in conveying his disturbance ... Dan Stevens gave us lean, hungry looks."
"Rebecca Hall as Lady Macbeth filled the auditorium with her prescence before even opening her mouth, and gave us the perfect blend of poise, despotism and delusion. Doubling her as Hecate added a new dimension to the play, stressing further the darkness in Lady Macbeth’s character, and the way in which both she and the weird sisters infiltrate Macbeth’s consciousness."
"Special credit must go to Tom Noad who, as Macduff, dominated the second half. His scene on hearing of the murder of his wife and children was the most powerful in the play, his questioning and disbelief evoking an unbearable pathos."

"The Marlowe Society has created a thoroughly professional production which demands to be judged on those standards ... likely to be amongst the best pieces of theatre in Cambridge this year"

(The Cambridge Student)



"The production brilliantly brought out the atmosphere of the play. Though nowhere in the text, the opening scene was particularly effective – a vivid evocation of battle, with the clash of steel and savage cries of triumph. It acted as a reminder of the primitive, feudal world of the Scottish play. Smoke and lighting, or rather the lack of it, were also used to great effect. The stage was in near-darkness for most of the time, which intensified the sense of brooding horror.

"The acting was of a high standard. Dan Stevens as Macbeth was particularly impressive, and Macduff (Tom Noad) really shone in the scene in which he hears of the deaths of his wife and children. The play was well directed, with a sense of imagination. There were some interesting reinterpretations, such as changing lines of soliloquy into dialogue. Most striking was Macbeth’s near-victory over Macduff in the final battle, which he throws away in his shock at the news that Macduff is not of woman born. These small twists on an old tale were exemplary of the ability and ingenuity characteristic of the entire production. It’s even worth braving the crowds of schoolchildren."

(Adhoc Magazine)




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