Events have overtaken this Macbeth, dramatically heightening its queasy topicality. Not just brutal beheadings and torture, but the cost and collateral damage of conflict without end, and the scourge of a tyrant slaughtering his own people, strike one anew in the wake of recent debate. Carrie Cracknell’s interpretative, modern-dress production traps us in a military underground bunker, drained of light and colour – a Hell as acutely psychological as it is physical. Not for nothing does the doomed Macbeth fear the “diseased mind”.
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