Macbeth

Shakespeare 4 Kidz

Dorking Halls

Reviewed by Tony Flook

Shakespeare 4 Kidz has to tread a cautious path. On one hand it must engage its young audience – typically 11 to 13-year-old students, generally in school parties. At the same time it must not dumb down works such as Macbeth to the extent that they become superficial and, as a result, patronising.

This production, directed by Julian Chenery, generally achieved this balancing act. First and foremost, it engrossed a near-full house with very few lapses, from first to last – even to the extent of roundly booing the title character at his curtain call. Then, give or take an occasional throw-away line, most of the dialogue was pure Shakespeare with some of the less digestible speeches either omitted or, possibly, thinned out.

The quality of the acting reflected the fact that many of the players graduated from leading performing arts colleges. Jason Lee Scott showed Macbeth as a brave soldier who wished to be king but who lacked the steeliness of purpose needed to attain this goal. It was a totally recognisable portrayal. He was driven on by his unerringly ambitious wife, played with chilling reality by Emma Odell who made it demonstrably clear that she was the real villain.

Kirk Barker gave a strong performance as Macduff. His anger on learning that his wife and family had been murdered gave him the strength to meet and beat the tyrant in a convincing sword fight, skilfully choreographed by Roger Bartlett.

The three witches (Richard Foster-King, Samantha Giffard and Kirsty Tibbetts) screeched and cavorted wildly although it seemed strange to see the tallest male member of the cast playing a female.

Admitting that the role of the Porter was written to bring some relief to an otherwise unremittingly intense play, Noel Andrew Harron's gratuitously over-the-top portrayal, with audience participation and 'knock-knock' jokes should have been held back for his forthcoming appearance in pantomime.

Matt Gimblett's music, coupled with his and Chenery's lyrics were seamlessly integrated into the story and all either carried the plot forward or gave an insight into the character of the singer. Lady Macbeth's Leave It All Up To Me and Macbeth's Banquo Must Go, in particular, showed the performer's nature and motivation.

This production should have left its viewers with a thirst to explore this and others of the Bard's works in more depth.