<?xml version="1.0" encoding="ISO-8859-1"?> <docID>338200</docID> <postdate>2025-02-13 08:33:34</postdate> <headline>Dark Macbeth brightens to the twilight performance</headline> <body><p><img class="size-full wp-image-338202" src="https://citynews.com.au/wp-content/uploads/2025/02/Macbeth-meets-the-witches.-Photo-Helen-Musa.jpg" alt="" width="900" height="600" /></p> <caption>Macbeth meets the witches. Photo: Helen Musa</caption> <p><span class="kicker-line">Theatre / Macbeth, by William Shakespeare, directed by Jordan Best. At The Q, Aunty Louise Brown Park, until February 16, then at a range of outdoor venues across Canberra until March 2. Reviewed by <strong>JOE</strong></span><br /> <span class="kicker-line"><strong>WOODWARD</strong>.</span></p> <p><strong>One might not consider Macbeth a fun play. It is regarded as one of Shakespeare’s darkest works. </strong><strong>Yet the open-air performance presented by The Q and Lakespeare provided for a most enjoyable </strong><strong>and even light-hearted afternoon and twilight presentation.</strong></p> <p>This was achieved by pacey performances that didn’t take it all too seriously. The audience was<br /> taken into the scheme of the work at every turn.</p> <p>Performed on the grass in front of a tent offering a back-stage area, the actors at once had to be larger than life and capable of using their physicality and very clear diction to advance the story.</p> <p>There was even some tongue-in-cheek style audience participation that assisted in the creation of a<br /> Shakespeare joke. One can almost envisage Shakespeare’s own production of the work where the<br /> audience and actors shared moments in similar fashion.</p> <p>This said, the cast provided moments of great power when necessary. Paul Sweeney’s Macduff<br /> shared strong emotion with a powerful voice even as there were some issues with his microphone.</p> <p>Jane Ahlquist’s multiple characters each inhabited unique gestures and vocal qualities that were a<br /> feature of the production. Isaac Reilly maintained the driving rhythm so necessary to keep a sense of<br /> flow and direction.</p> <p>Each of the central core acting group including Lainie Hart, Caitlin Baker, Paris Scharkie, Annabel Hansen, Lachlan Ruffy, Max Gambale, Sterling Notley and Kirana De Schutter worked as a well-connected ensemble to ensure a highly entertaining evening of theatre.</p> <p>The deceptively simple presentation gave access to Shakespeare’s text for people who are familiar<br /> with the work and for those who perhaps have never seen Shakespeare’s plays on stage. The Q and<br /> Lakespeare must be congratulated for the initiative.</p> <p>For people seeking a deeply psychological Macbeth, this is not the production! Nor is it the obvious<br /> intent. Some speeches proved to be difficult within this style; most notably the “sound and furyâ€<br /> monologue!</p> <p>The broad-strokes within the acting meant some reactions to events were not fleshed out as they would be in an indoor setting. This is not necessarily a criticism as every venue will shape priorities for making contact with audiences. I suggest what is lost is more than compensated by the actor/audience connection enabled by the production in the open-air.</p> <p>Audiences who are very familiar with Shakespeare’s text will find a very refreshing experience in this<br /> Q and Lakespeare presentation. It demonstrates the huge potential to shape a performance of<br /> Macbeth in ways that open it up for different perspectives. So check it out.</p> </body>