Macbeth, Harold Pinter Theatre - Haunting. It’s Macbeth done well.

Cush Jumbo and David Tennant in Macbeth. Image by Marc Brenner.

⭑⭑⭑⭑ - 81% • 2 minutes 41 seconds read time

This Donmar Warehouse production of Macbeth, now transferred to the West End at the Harold Pinter Theatre, delivers an intense and atmospheric rendition of Shakespeare’s dark classic, utilising minimalism in a way that feels both haunting and thoughtful. The set design is masterfully sparse, and this restraint heightens the impact of the play’s final moments. It’s as if the bare essentials build a charged vacuum on stage, making the ending land with a resonance that stands in sharp and beautiful contrast to the rest.

David Tennant reaffirms himself here as one of the finest Shakespearians of our time, and perhaps of all time, in a performance driven by a raw, visceral energy that brings Macbeth’s unraveling vividly to life. Cush Jumbo and Cal MacAninch, as Lady Macbeth and Banquo, truly stand out alongside him. Jumbo’s portrayal is layered with an introspection that is beautiful to behold, grounding Lady Macbeth in a quiet intensity that complements Tennant’s frenetic energy. MacAninch, meanwhile, has a magnetic presence that draws the eye to him whenever he is on stage; his Banquo is both powerful and haunting, striking a careful balance between strength and pathos. Together, the three bring a charged, cohesive tension to the heart of the production.

The costume design adds another layer to the production’s authenticity, embracing kilts and traditional attire that root the play firmly in its Scottish setting. Jumbo’s role as the sole figure dressed in white is an intriguing and effective choice, adding a striking visual contrast on stage. This dedication to detail is underscored by the Gaelic singing and the live musicians, whose performances add a haunting quality, paying ode to Scotland’s heritage in a way that feels respectful and enriching. It’s a production that leans wholeheartedly into the Scottish landscape of the piece, infusing it with a genuine sense of place.

One standout element of this production is the sound design, which cleverly makes use of headphones to heighten the audience’s immersion. The eerie precision with which the witches’ voices curl around you feels almost as if they’re speaking from within your own mind, creating an unsettling intimacy that I personally found more effective than immersive staging alone. It’s a captivating twist that helps bridge the gap between Shakespeare’s otherworldly themes and a more modern sensory experience.

However, the production is held back by the decision to forgo an interval. At just under two hours, this continuous performance demands a level of endurance that, frankly, borders on uncomfortable. Sitting for such an extended period isn’t just a test of patience; for audience members with physical health issues, neurodiversities, or simply the discomfort of prolonged sitting, it poses a real obstacle to enjoyment. By the latter half, the discomfort becomes distracting, making it hard to fully appreciate the intensity unfolding on stage.

Adding to this challenge is the inclusion of the Porter scene, which abruptly breaks the fourth wall. In an otherwise cohesive and intense production, this scene feels misaligned with the tone, jolting the audience out of the crafted atmosphere with an incongruous five-minute comedic interlude. While the actor executes the scene with commendable energy, it feels like a misplaced bid for a mental breather, which could be more naturally achieved by an interval.

There were moments of confusion, too, as actors switched roles without clear visual or auditory cues. In an otherwise cleanly minimalistic staging, this oversight led to some ambiguity as to who was who on stage, especially in scenes with overlapping roles.

Despite these critiques, this Macbeth may not seek to redefine Shakespeare, but it respects and upholds the text’s essential drama. It’s Macbeth, and it’s Macbeth done well – a haunting, polished experience elevated by powerful performances, inventive sound design, and an authentic tribute to its Scottish roots.

Macbeth is running at the Harold Pinter Theatre until December 14th. Tickets here.