Macbeth performed by Les Baladins de Marly le Roi at the Shelley Theatre, Marlow 

From the eerie, smoke- filled opening scene of this action-filled adaptation of one of Shakespeare’s most popular plays to the fighting and swordplay of the final scenes, this production in French never failed to enthral. The set, music and lighting contrived to suggest the battlefield and the guilt-haunted minds of the central characters whilst the acting, full of commitment, conviction and energy, was compelling and commanding. The witches, or weird sisters in this production were nubile, sinuous and sinister. Alice Petit, Eloïse Regnier and Aurélie Spéranza wove in and out of the action, enmeshing Patrice Loyer as Macbeth in a seductive web of taunting, tempting allurement. Their movements were beautifully synchronised, and the cauldron scene was especially effective, the apparitions staged as Delphic utterances of the witched in a drugged trance. They were present on stage for most of the action, intervening in the “dagger” speech and in the banquet scene, giving a new angle on who is responsible for the tragedy. 

Macbeth and his Lady played by Françoise Marche complemented each other well. Their partnership was dynamic and suggested the drive of an ambitious wife who has to compel her dithering husband through emotional blackmail. The Sleepwalking scene was very well staged, and Sylvia Brunet and Jeannine Jacob gave seriousness and atmosphere to their servant roles by their total conviction. Movement and voice combined to give a very strongly projected impression of Lady Macbeth’s guilt. 

It was interesting to see that in adapting the play for his cast, Philippe Vandaele had made Duncan into a Queen of Scotland. This seemed to work well, with Claire Mespié exercising a calm, dignified authority.  

Thierry Gingembre, as Banquo had to show us his closeness to Macbeth, his growing suspicion and be a terrifying ghost. All this he did, but cutting his long speech to the empty throne in Act 3 “ Thou hast it now” made his distrust less obvious.  

Les Baladins have the advantage of a wide range of ages, and the young players of Malcolm, Fleance and Ross ( Jeremy Chanez,  Brice Richard and Stéphane Holstein) gave very convincing and well delineated performances in roles which often have little to work with.  

The play ends with a battle, and here Les Baladins, as with everything they do, showed us professional, meticulously detailed battles, played at full speed and directed most expertly by Loïc Diquero, who played the valiant Macduff. The final fight between Banquo and Macbeth was staged with such intensity and athleticism that the audience was heard to gasp, so impressive were these conflicts. These actors work like full-time professionals: never a hint of a dropped line or an off night: their total concentration and commitment are unwavering. 

The costumes would have done credit to our best Shakespearian companies, and the make-up powerfully suggested the barbarism and violence of a bloody male dominated and ruthless realm of warlords. 

This was a wonderful evening of theatre, accessible in any language and a splendid tribute to the international status of Shakespeare, history’s greatest poet and playwright.      

Andrew Stafford