5 Reasons The Critics Hated Macbeth at the National Theatre

Rory Kinnear & Anne-Marie Duff fail to save Macbeth, say theatre critics

Click here for the video 5 Reasons The Critics Hate National Theatre’s Macbeth on the YouTube channel One Minute Theatre Reviews

Photo of Anne-Marie Duff & Rory Kinnear in Macbeth at National Theatre
Anne-Marie Duff & Rory Kinnear in Macbeth at National Theatre. Photo by Brinkhoff and Moegenburg

‘misjudged mess’ WhatsOnStage
‘the worst Shakespeare production at the NT for at least a decade’ Time Out
‘An unfortunate failure’  Sunday Times
‘A dud’ Daily Telegraph
‘A real mess’ Variety
‘A dismaying muddle’ The Stage
‘A stinker’ Daily Mail

Macbeth at the National Theatre has garnered some of the worst reviews in a long time including a one star review from WhatsonStage. Most rated it two stars including Sunday Times, Daily Mail, Telegraph, The Guardian, The Stage, Evening Standard, The Times,  The Observer,  Time Out and Broadwayworld.com.

‘Is this a dagger I see before me?’ asks Macbeth. He wasn’t wrong- the daggers were out for this production. The Telegraph responded, ‘Is this a dud I see before me?’ and the Daily Mail said, ‘Is this a shambles I see before me?’

So what didn’t they like? Two words crop up more than any others: Rufus Norris. He’s the director of Macbeth and he’s the National Theatre’s Artistic Director. He must have felt like Macbeth did when Burnham Forest came to Dunsinane. The machetes were out for him. Quite a few of the forest of critics noted his lack of experience in directing Shakespeare. Given the hugely successful Shakespearean productions of his predecessor Nicholas Hytner, now wowing them with Julius Caesar down the road at the Bridge Theatre, the phrase ‘hard act to follow’ comes to mind.

The first problem was that he had, many felt,

No understanding of the play

Rufus Norris places his Macbeth in some kind of post-apocalyptic urban setting. Dominic Cavendish wrote in the Telegraph ‘if a director does decide to go into modern-day apocalyptic mode, they can face a losing battle (as here) defining what is being fought over, why attention is paid to hierarchies, and how any of it matters’.

‘Where are we exactly, what sort of society is this and how did people end up here? It’s never made clear – conceptually, it’s a dismaying muddle.’ That was Natasha Tripney in The Stage

Lloyd Evans writing in the Spectator agreed ‘everything is confusing here’. ‘Childish, tokenistic, muddled, this show is laughably unmoving. They splosh round masses of Kensington gore but it manages to be bloodless. Feeble,’ spluttered Quentin Letts in the Daily Mail.

Christopher Hart writing in the Sunday Times knows what he likes: ‘In the best productions, Macbeth can feel like a ferocious ride straight to hell, pausing only for some of the most haunting and desolate soliloquies in the canon: the outpourings of a human soul in the process of destroying itself.’ And he knows what he doesn’t like: ‘What it should never feel like is lacklustre, turgid, somnolent’.

‘There’s no compelling new take here on Shakespeare’s interest in questions of tyranny and masculinity,’ complained Henry Hitchings in the Evening Standard.

‘Norris has taken a play best compressed into a taut psychological drama and blown it up into something operatically overblown,’ blustered Variety.

Holly Williams in the Independent said ‘vaulting ambitious becomes more survival of the fittest’. To be fair, Holly Williams didn’t hate it: ‘I’ve seen far worse than this.’ Which is what is sometimes called damning with faint praise.

So what else did Rufus Norris do to upset the critics? Well, if he didn’t understand what Shakespeare was getting at, he also dissed the bard’s poetry.

No respect for the text

‘In more minor cuts and rewrites, metre counts for nothing,’ complained Ian Shuttleworth in The Financial Times. ‘It’s brutally truncated,’ said Sarah Crompton in WhatsOnStage, ‘its great moral debate about the corrupting effects of evil (is) entirely lost.’

Variety referred to ‘Unnecessary, almost arbitrary textual cuts’. Susannah Clapp in The Observer talked of ‘a slashed text that eviscerates the witches’ speeches – no hubble-bubble or eye of newt – and makes the drama blunter, more one-dimensional’.

Quentin Letts writing in the Daily Mail wasn’t happy with Slasher Norris from the start: ‘”When shall we three meet again?” is one of the greatest opening lines of any play. Mr Norris ditches that.’

The Guardian’s Michael Billington wrote, ‘While a play is not a poetry recital, this production seems indifferent to the rhythms of the language… (it) sacrifices its tonal contrasts and mysterious poetry.’

And not only did it sound bad, they thought it looked bad.

The set is ugly

‘Rae Smith’s ugly-to-behold set is dominated by an oppressive backdrop of raven-black hangings,’  said the Telegraph. That word ‘ugly’ crops up a few times. ‘It was aggressively ugly,’ shuddered The Stage. And WhatsOnStage found it ‘ugly to look at’.

The Daily Mail called it a ‘low-lit mess engulfed by blunt grottiness’. Time Out said, ‘the setup here is essentially meaningless’. The Guardian found it ‘harsh to look at, lacking in light and shade’. The Evening Standard thought it was ‘bleak and often brutal’.

The set offended some critics so much, they couldn’t keep their eyes off it, thus subverting the Shakespeare’s classic work . Anne Treneman in The Times said, ‘the play struggles to rise above the sheer Stygian ghastliness’.  ‘These distressing visual details aren’t just nasty to look at, they undermine the story,’ said Lloyd Evans in The Spectator.

Not everyone agreed. The Sunday Times thought it had a ‘marvelous look’. David Butcher on the Radio Times website praised the ‘bold production design’. The Independent said, ‘Norris’s production excels … in atmosphere and visuals. It’s dark.’

So you have this big dark set and here’s the next problem. It’s in a big theatre.

The Olivier is too big

Now arguably this is not Rufus Norris’ fault. He’s inherited the cavernous Olivier but then again he chose to place Macbeth, a play whose themes of conspiracy and paranoia probably work best in a confined space, in the biggest space the National has to offer.

‘Rae Smith’s black pleated walls – bin-bag cliffs – engulf the action on the huge Olivier stage,’  said Susannah Clapp in The Observer. Mark Shenton at LondonTheatre.co.uk thought ‘the scale of the production also mitigates against the domestic intensity of much of the drama’.

You might have thought the stars would redeem it. Rory Kinnear and Anne-Marie Duff are two of our finest actors and in Mr Kinnear you have someone with a brilliant track record of playing great Shakespearean roles. And, to an extent, they did but, even though most critics liked their acting, quite a few didn’t like the interpretations, especially Rory Kinnear’s Macbeth.

The stars

Here’s what they said about this ‘poor player that struts and frets his hour upon the stage’. ‘Rory Kinnear, one of our finest comic actors, never quite convinces as the driven, ambitious thane. He’s too dithering, nervy and jumpy.’  That was  the Sunday Times.

The Daily Mail thought him ‘unexceptional’. ‘Kinnear is a martial not a meditative presence, too robust to seem deeply disturbed,’  said The Observer. The Stage said, ‘In the past he’s been an eloquent Hamlet and a bullish, envy-drenched Iago. He tackles Macbeth with the same clarity of delivery, but he never digs beneath his skin.’

That latter point is echoed by others. The Guardian said he ‘never takes us inside Macbeth’s head’. WhatsOnStage agreed saying he ‘does little to convey the conscience-stricken inwardness that makes the character so complex’. The Radio Times said, ‘There’s not enough sense of the dense geography of Macbeth’s inner life’ and continued ‘we don’t get the feeling here that his Macbeth is a great soul laid low by baser instincts, more an exasperated middle manager.’

Lloyd Evans in The Spectator had a similar thought. ‘There’s no trace of poetry, grandeur or mystery about him. But he’d be ideal casting as the tetchy manager of an Amazon warehouse.’

There’s more from Mr Evans.  ‘Rory Kinnear makes an unlikely Macbeth,’ said The Spectator. ‘His voice is dark, rich and characterful but he has few other assets. Physically he’s suburban: a bit bald, slightly stooping, with a faint beer gut and a pinched, narrow frame.’ In other contexts, this would be body shaming but we can take his point that Rory Kinnear’s Macbeth is an ordinary guy.

Rosemary Waugh from Exeunt Magazine had the same impression: ‘Rory Kinnear plays Macbeth as the-bloke-down-the-pub, making some of the most famous monologues in the history of well, theatre, sound as dramatically intense as a food order.’

Not everybody was unhappy with Rory Kinnear. Marianka Swain from Broadwayworld.com said he ‘showed real existential angst’ and was ‘as clear-spoken and intelligent with verse as always’.

So what about Anne-Marie Duff? She came in for less stick than Rory Kinnear but The Observer did say, ‘Duff is precise, guarding against her own fragility – she delivers her smashing-the-baby speech tearfully – but lacks the fire that usually makes her so memorable.’

And BroadwayWorld.com thought, ‘Anne-Marie Duff’s Lady Macbeth feels half-formed.’ Variety was even less impressed: ‘as Lady Macbeth, Duff all but goes missing’.

That said, many critics did like the acting of both Mr and Mrs Macbeth. Mark Shenton at londontheatre.co.uk said, ‘Neither of these fine, fierce and always ferociously intelligent actors disappoints.’ The Radio Times enthused about the ‘clarity of delivery and line-reading that makes the text sing’.

And quite a few singled out Anne-Marie Duff. The Financial Times said ‘she makes every word vibrate with high-tension significance’. The Guardian’s Michael Billington, who didn’t find much else to like, said ‘she lives vividly in the moment’.

So there you have it. The critics full of sound and fury but… signifying nothing? Tomorrow and tomorrow and tomorrow will tell whether sales or indeed Rufus Norris’s reputation are badly affected. I can say that when I saw it the audience reacted well. There was no polite round of applause- I heard strong clapping and some cheering. So word-of-mouth may prevail.

Did any critic give Macbeth at the National Theatre more than two stars? Yes- the Financial Times, The Independent, the Radio Times, the i and the LondonTheatre website to name but a few gave it three stars. One lone voice even gave it four stars. That was a certain One Minute Theatre Reviews.

What can I say? I liked the dystopian setting. I thought the poetry was beautifully spoken. I loved Rory Kinnear’s portrayal of Macbeth as an ordinary man caught up in lawless times. I found it interesting to see the themes of Macbeth played out, not in a war for a mighty kingdom but in the kind of nasty modern war over a destroyed city, such as we’ve seen in Syria or Bosnia.

I did think it would have been better in a more confined space, and it did lack tension at the end but I really hope the massed ranks of the critics advancing on Rufus Norris’s Macbeth don’t put people off this Scottish Play for our times.

March 2018 Theatre Picks

Photo of Nuffield Theatre new city centre building in Southampton
Nuffield Theatre Southampton

If you want to experience the Nuffield Theatre’s new Southampton city centre space, their second production is Tennessee Williams’ masterpiece A Streetcar Named Desire. It runs from 23rd to 31st March before touring to Keswick, Malvern, Bristol, Ipswich, Cambridge, Oxford, Mold and finishing where it started at the Nuffield.

Ambition, political scandal, ruthlessness… and the race for the White House. It’s the UK premiere of Gore Vidal’s political drama The Best Man about two contrasting Democratic candidates seeking the approval of the incumbent president. Martin Shaw leads a star studded cast including Maureen Lipman, Jack Shepherd, Honeysuckle Weeks and Glynis Barber. It was written in 1960 so it’s not about recent presidential candidates- but it could be. The Best Man opens at The Playhouse on 5 March.

There are a lot of productions of Macbeth around including one at Stratford. I’m opting for the one at the National Theatre. It stars Anne-Marie Duff and Rory Kinnear as the ruthlessly ambitious power couple whose relationship comes under pressure as the body count mounts. Shakespeare’s rollercoaster tragedy is directed by Rufus Norris and opens on March 6th.

Caroline, or Change, which was a big hit at Chichester last year, has finally found a London home. Hampstead Theatre plays host to the musical set in Louisiana in 1963. The civil rights movement is rising elsewhere but things seem much the same in the Gellman household, or do they? Caroline, or Change opens on 19 March.

The wonderful Menier Chocolate Factory’s latest show is Kiss Of The Spiderwoman, a provocative tale of love, victimisation, fantasy and the friendship that develops between two very different men imprisoned together in a Latin American jail. Previews begin on 8 March.

Photo of Lulu announcing appearance in 42nd Street at Theatre Royal Drury Lane London
Lulu coming soon in 42nd Street

42nd Street at Theatre Royal Drury Lane was the big winner at the What’s On Stage awards. There’s a new cast from 19 March featuring Lulu, back in the West End after 30 years.

There’s an unexpected world premiere at Theatre Royal Bath’s Ustinov Studio. It’s by Harley Granville Barker. Granville Barker was one of the theatrical greats of the early 20th century, an actor, a director and the author of The Voysey Inheritance and Waste. But he died in 1946. So what’s the story? It seems a comedy by him has been found among his papers and will receive its first performance in a production directed by Trevor Nunn. Agnes Colander opens on 15 March.

Booking Opens In March

Talking of world premieres, a new Alan Bennett play is always an exciting event. Allejujah!, directed by Nicholas Hytner, begins at the Bridge Theatre on 11 July and runs until 28 September. Public booking opens on 2 March.

In the next booking period of the National Theatre, you’ll find such wonders as Brian Friel’s Translations and Strindberg’s Miss Julie brought into the present day and called simply Julie. Perhaps most exciting of all, Sam Mendes will be directing Simon Russell BealeAdam Godley and Ben Miles in The Lehman Trilogy which tells the story of the financial institution Lehman Brothers from its humble immigrant beginnings to its bankruptcy 163 years later, triggering the greatest financial crisis in history. Public booking opens on 16 March.

My February 2018 Theatre Picks

February is a busy month for new shows in London with big names. 

Production shot of Jeremy Irons and Lesley Manville in Long Day's Journey Into Night
Jeremy Irons and Lesley Manville in Long Day’s Journey Into Night. Photo: Hugo Glendinning

Jeremy Irons and Lesley Manville star in Eugene O’Neill’s masterpiece Long Day’s Journey Into Night at Wyndham’s from 27 January for 10 weeks only. First seen at Bristol old Vic. More than one reviewer noted the exhilaratingly fast pace of this production directed by Richard Eyre. The Tyrone family positively hurtle toward their destruction.

Rufus Norris directs Rory Kinnear and Anne-Marie Duff in Macbeth at National Theatre from 26 February to 12 May.

Carey Mulligan is in the one woman play Girls And Boys by Dennis Kelly at the Royal Court from 8 February to 17 March. It’s already sold out but try for Monday tickets.

Frozen at Theatre Royal Haymarket is Bryony Lavery’s thriller about a missing girl, not the Disney film. Suranne Jones and Jason Watkins star. It opens on 9 February for 12 weeks.

On the London fringe, The B*eats written by and starring the excellent Monica Dolan was well reviewed at Edinburgh Festival and can now be seen at Bush Theatre from 12 February. It’s a comedy drama (dramedy, anybody?) about the sexualisation of children.

Another Edinburgh hit opens at Soho Theatre: Dust, penned and performed by Milly Thomas, imagines a woman committing suicide and then be forced to watch the aftermath.

Outside London, the big event is the opening of the Nuffield Theatre Southampton’s new city centre space on 7 February launched with a new play The Shadow Factory by Howard Brenton.

The tour of This House by James Graham begins at West Yorkshire Playhouse in Leeds from 23 February and then moves to Cambridge, Bath, Edinburgh, Nottingham, Birmingham, Salford, Plymouth, Norwich, Great Malvern, Guildford and Sheffield. Read my review of This House here.