Very good review: I liked the war-as-business feel - it made The Macbeths seem like the Assads in Syria, accidentally on the ruthless make from the middle ranks. When I attended the show, the theatre was full and the atmosphere electric. The audience of all ages was buzzing with enjoyment and everyone was discussing it as they left. What struck me is that there is clearly an appetite in the regions of the UK for serious drama and we need more to come here!
Thanks for reading! Yes, that's an excellent comparison — hadn't thought of Syria, but that does feel like a good parallel. And couldn't agree more on appetite for serious drama. Hopefully the Depot will attract even more ambitious productions in the years to come.
We went on Tuesday and it really was great to a really mixed audience (full house!) So obviously enjoying live theatre on this scale. Hope we'll see other productions like this very soon.
What a well crafted, fascinating and thorough critique! You don't get a lot of those, these days. I've seen quite a few Maccers in my time, and personally I don't find the text a confusing read. It's one of (if not the) shortest of Shakespeare's and he knows what he's doing when he places the worst of the violence off stage, leaving it up to the audience's imagination. Which is a much more harrowing, and less patronising experience than a lot of directors realise. So I reckon I dodged a bullet (and a bucket of fake blood) where this one is concerned. Thank you!
Ahh thanks, that's very kind of you to say. Hmmm — maybe this is exactly what you're talking about when you say "leaving it up to the audience's imagination", but I feel like Shakespeare has a certain playfulness when it comes to plot, and sometimes his plots aren't always entirely logical. eg. Given the various prophecies were coming true, minus any action on Macbeth's part, there's that characteristic logical gap when it comes to LM's decision to take matters into their own hands when the king comes to stay. Because there was nothing to suggest Duncan wouldn't just die of his own accord, if the prophecy was true! I feel like this is a fairly characteristic Shakespeare plot device — sometimes, characterisation fills in plot gaps. But probably you have a better grasp of the play than me! Would love to hear your thoughts, anyway.
Thank you Sophie for your well written critique - very evocative with some phrases and words bringing the play and its actors to life on the page. A true wordsmith on top of your craft. I thoroughly enjoyed your piece of journalism.
I went to see the play on the second night and was slightly disappointed in Ralph Fiennes’ performance, just expected it to be more mesmerising, but it wasn’t bad.
I thought setting it in the modern day wasn’t innovative but it did help in understanding. It improved a lot after the interval. I was glad I’d attended and the buzz on
Yes, it's a great question (about the tents). Think it would make sense to do a homelessness deep dive in Liverpool, thanks for the suggestion. And thanks for the kind words about the A&E piece, agree a follow up might be interesting.
You're right, it is illogical, and humans don't always behave logically. The two best Lady Ms I ever saw were Daphne Grey in the South Australian Theatre Company's 1977 production and Gerda Stevenson in the original Scottish National Theatre production (c 1983). Daphne Grey's was very young, with a teenager's exuberant enthusiasm for the possibility of having the ultimate dream now, right now. Gerda Stevenson's was a passionate woman, deeply ambitious and committed to getting her man to the top job before anyone else could. They made it make sense, in its warped way. Or their directors did. Tom Fleming for SNT, Colin George for SATC. And if you really want lack of logic (which, like you, I don't particularly) try anything by the ancient Greeks, or Dr Who, or anything by Richard Osman. (Don't get me started...) And how lovely of you to respond! We should have coffee sometime.
Flloyd, please excuse my delayed response, we're in the midst of the pre xmas rush. And yes, you're right on the ancient Greeks and logical gaps haha. Agree, it would be lovely to go for coffee next time I'm in Liverpool, would you mind shooting me your email address? I'm on sophie@manchestermill.co.uk if you want to send it there!
Guardian took 600 words to review Macbeth, this is over 2500 and incredibly negative and sniffy about a very significant coup for the Liverpool cultural scene. Are you from Manchester? Another disappointing edition of The Post!
Terry, for my sins, yes: I am from Manchester. But I'd like to think where I hail from didn't dictate my take on the play...personally, I find the boosterism that dominates arts criticism in the North really boring and patronising (this idea that if you don't support a production that plays in the North, regardless of what you actually think of it, you're somehow undermining the arts scene here). I would like Liverpool to have plays on that are the equal of (or superior to) the theatre that plays in the capital. Falsely bigging up a play that I think is fine, but not much more than that, would be a very peculiar way to treat the readers of the Post.
Sophie: thanks for an intelligent and thorough crit of the performance. I wasn't sure whether there could be seats more uncomfortable than the Prescot Shakespeare; you've convinced me it's possible. I'm glad I saved a few bob.
Your 'Review' was ludicrously overlong and absurdly self indulgent. How the hell the editor OK'd it is a mystery to me. Its not as though The Post hasn't got enough decent material to fill its edition, or is that the problem? You need fillers! 2500 words. wtf! Clearly where you're from has, I'm afraid, dictated your take on the play.
It's sad that the modern fashion for short, fast, ultra-processed thinking has pervaded every aspect of our lives. A good long well-considered critique is so unusual these days it stands out like a comet in the night sky. I have lived in places where the theatre community operated on a system of self congratulation and the local 'reviewers' joined in the nonsense, hence nothing ever grew beyond mediocrity. I am grateful that there are people brave enough to express themselves honestly from a well-informed perspective. I still miss Clive James. Sophie Atkinson is to be commended for following in his footsteps.
Very good review: I liked the war-as-business feel - it made The Macbeths seem like the Assads in Syria, accidentally on the ruthless make from the middle ranks. When I attended the show, the theatre was full and the atmosphere electric. The audience of all ages was buzzing with enjoyment and everyone was discussing it as they left. What struck me is that there is clearly an appetite in the regions of the UK for serious drama and we need more to come here!
Thanks for reading! Yes, that's an excellent comparison — hadn't thought of Syria, but that does feel like a good parallel. And couldn't agree more on appetite for serious drama. Hopefully the Depot will attract even more ambitious productions in the years to come.
We went on Tuesday and it really was great to a really mixed audience (full house!) So obviously enjoying live theatre on this scale. Hope we'll see other productions like this very soon.
What a well crafted, fascinating and thorough critique! You don't get a lot of those, these days. I've seen quite a few Maccers in my time, and personally I don't find the text a confusing read. It's one of (if not the) shortest of Shakespeare's and he knows what he's doing when he places the worst of the violence off stage, leaving it up to the audience's imagination. Which is a much more harrowing, and less patronising experience than a lot of directors realise. So I reckon I dodged a bullet (and a bucket of fake blood) where this one is concerned. Thank you!
Ahh thanks, that's very kind of you to say. Hmmm — maybe this is exactly what you're talking about when you say "leaving it up to the audience's imagination", but I feel like Shakespeare has a certain playfulness when it comes to plot, and sometimes his plots aren't always entirely logical. eg. Given the various prophecies were coming true, minus any action on Macbeth's part, there's that characteristic logical gap when it comes to LM's decision to take matters into their own hands when the king comes to stay. Because there was nothing to suggest Duncan wouldn't just die of his own accord, if the prophecy was true! I feel like this is a fairly characteristic Shakespeare plot device — sometimes, characterisation fills in plot gaps. But probably you have a better grasp of the play than me! Would love to hear your thoughts, anyway.
Thank you Sophie for your well written critique - very evocative with some phrases and words bringing the play and its actors to life on the page. A true wordsmith on top of your craft. I thoroughly enjoyed your piece of journalism.
Thanks Steve, that's very lovely feedback to hear. Really appreciate you taking the time to read this!
Really good read, thank you Sophie! Looking forward to seeing it myself later in the month.
Ahh thanks! Hope you enjoy it — do let us know what you think.
Critique - engrossing as a good play . Well done.👍
What a lovely compliment — I'll take it! Thanks for reading Ian.
I went to see the play on the second night and was slightly disappointed in Ralph Fiennes’ performance, just expected it to be more mesmerising, but it wasn’t bad.
I thought setting it in the modern day wasn’t innovative but it did help in understanding. It improved a lot after the interval. I was glad I’d attended and the buzz on
leaving suggested most of the audience agreed.
I too thought the butler was a delight!
Liked the article on A and E - just read it - it would be good to do a follow up. Just a thought.
Also why are so many people living in tents now in our cities ? What has gone wrong.
Yes, it's a great question (about the tents). Think it would make sense to do a homelessness deep dive in Liverpool, thanks for the suggestion. And thanks for the kind words about the A&E piece, agree a follow up might be interesting.
You're right, it is illogical, and humans don't always behave logically. The two best Lady Ms I ever saw were Daphne Grey in the South Australian Theatre Company's 1977 production and Gerda Stevenson in the original Scottish National Theatre production (c 1983). Daphne Grey's was very young, with a teenager's exuberant enthusiasm for the possibility of having the ultimate dream now, right now. Gerda Stevenson's was a passionate woman, deeply ambitious and committed to getting her man to the top job before anyone else could. They made it make sense, in its warped way. Or their directors did. Tom Fleming for SNT, Colin George for SATC. And if you really want lack of logic (which, like you, I don't particularly) try anything by the ancient Greeks, or Dr Who, or anything by Richard Osman. (Don't get me started...) And how lovely of you to respond! We should have coffee sometime.
Flloyd, please excuse my delayed response, we're in the midst of the pre xmas rush. And yes, you're right on the ancient Greeks and logical gaps haha. Agree, it would be lovely to go for coffee next time I'm in Liverpool, would you mind shooting me your email address? I'm on sophie@manchestermill.co.uk if you want to send it there!
Thanks for the warnings. I'll make sure that I wear clothes that won't show stains, whether of red wine or fake blood. 😉
Haha, sounds like a plan! Spent way too long the day after soaking red wine out of my dress and jumper...
Guardian took 600 words to review Macbeth, this is over 2500 and incredibly negative and sniffy about a very significant coup for the Liverpool cultural scene. Are you from Manchester? Another disappointing edition of The Post!
Terry, for my sins, yes: I am from Manchester. But I'd like to think where I hail from didn't dictate my take on the play...personally, I find the boosterism that dominates arts criticism in the North really boring and patronising (this idea that if you don't support a production that plays in the North, regardless of what you actually think of it, you're somehow undermining the arts scene here). I would like Liverpool to have plays on that are the equal of (or superior to) the theatre that plays in the capital. Falsely bigging up a play that I think is fine, but not much more than that, would be a very peculiar way to treat the readers of the Post.
Sophie: thanks for an intelligent and thorough crit of the performance. I wasn't sure whether there could be seats more uncomfortable than the Prescot Shakespeare; you've convinced me it's possible. I'm glad I saved a few bob.
Hey Kevin, thanks for reading! I haven't made it to the Prescot Shakespeare yet! But I'll bring my own cushion...
... and avoid any seats near large columns.
Your 'Review' was ludicrously overlong and absurdly self indulgent. How the hell the editor OK'd it is a mystery to me. Its not as though The Post hasn't got enough decent material to fill its edition, or is that the problem? You need fillers! 2500 words. wtf! Clearly where you're from has, I'm afraid, dictated your take on the play.
It's sad that the modern fashion for short, fast, ultra-processed thinking has pervaded every aspect of our lives. A good long well-considered critique is so unusual these days it stands out like a comet in the night sky. I have lived in places where the theatre community operated on a system of self congratulation and the local 'reviewers' joined in the nonsense, hence nothing ever grew beyond mediocrity. I am grateful that there are people brave enough to express themselves honestly from a well-informed perspective. I still miss Clive James. Sophie Atkinson is to be commended for following in his footsteps.