Roy Williams’ incendiary 2002 play, Sing Yer Heart Out for the Lads, which attacks grass roots racism with all the finesse of a vintage Vinnie Jones tackle, is back and spewing vitriol in Chichester Festival Theatre’s pop-up space, The Spiegeltent.
It’s sometimes a little difficult to take seriously how old everyone is meant to be in Romeo & Juliet but Erica Whyman’s modern-day production for the RSC, playing in rep now at the Barbican, never lets you forget.
Overall it is a beautiful re-telling of Macbeth, keeping true to the script but taking a twist on a unique element. Macbeth at the Barbican is not to be missed.
Despite a cast including Christopher Eccleston and Niamh Cusack, this proves another disappointment of a Macbeth as the RSC starts is autumn residency at the Barbican.
Is it ironic that the most emotionally powerful scene of the RSC’s Macbeth at the Barbican comes in a rare moment of silence and stillness, a scene when the Macbeths are nowhere to be seen?
In contrast to Rufus Norris’ Macbeth at the National, with Rory Kinnear and Anne-Marie Duff, the RSC’s current production is focused and direct. This ensures that it is more of a success, but also proves its weakness. Polly Findlay’s production is certainly the more coherent and features strong leads.
An imaginatively staged take on The Scottish Play which, in its leading roles, is stunningly performed. All in all a bloody, good, Macbeth.