Anne-Marie Duff and Kenneth Cranham try their best in unconvincing rom-com, which is predictable and portentous.
Tighter dialogue in the latter half and the addition of some physical theatre sequences give this update more sophistication, but a few of the original issues are still there. McNeill, who also directs, shows an inclination towards European theatre aesthetics, but he doesn’t quite go far enough.
A dozen or so of us were led to the roof of the Royal Festival Hall where we were told to expect: ‘A multi-sensory encounter of shifting sound, colour and light, which reinvents the gig-going experience as a site-responsive close-up standing performance.’ Whatever that is.
Even if the audience understands that Macbeth is about somebody who murders the king and sees witches, they still want to grasp what is happening line to line and scene to scene. When a play stretches to over three hours, this can sometimes be a daunting task, for actors as well as directors.