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Macbeth 2019 ONLINE RESOURCES MACBETH © Bell Shakespeare 2019, unless otherwise indicated. Provided all acknowledgements are retained, this material may be used, reproduced, and communicated free of charge for non-commercial educational purposes within Australian and overseas schools. Macbeth Online Resources 2 CAST ALEX CHALWELL LAURA DJANEGARA EMMA JACKSON Malcolm Weird Sister Lady Macbeth/Lady Macduff/Captain ROBERT JAGO FELIX JOZEPS RUSSELL SMITH Macbeth Banquo / Seyton / Ross Duncan / Macduff STEPHANIE MARIA TRAN SOMERVILLE Weird Sister Weird Sister ONLINE RESOURCES MACBETH © Bell Shakespeare 2019, unless otherwise indicated. Provided all acknowledgements are retained, this material may be used, reproduced, and communicated free of charge by educational institutions in Australian and overseas. Macbeth Online Resources 3 CREATIVES AMY HARDINGHAM HUW MCKINNON TOBHIYAH STONE Director Director FELLER Designer LAURA TURNER AMBER SILK TEGAN NICHOLLS Video Designer Lighting Designer Composer & Sound Designer MARIA TRAN JESS CHAMBERS Movement & Voice & Text Coach Fight Director ONLINE RESOURCES MACBETH © Bell Shakespeare 2019, unless otherwise indicated. Provided all acknowledgements are retained, this material may be used, reproduced, and communicated free of charge by educational institutions in Australian and overseas. Macbeth Online Resources 4 CREW STAGE MANAGER Keiren Smith ASSISTANT STAGE MANAGER Michelle Sverdloff HEAD MECHANIST Dion Robinson TECHNICAL SUPERVISOR Nick Toll COSTUME SUPERVISOR Alana Canceri COSTUME ASSISTANT Robyn Fruend PRODUCTION ASSISTANT Paisley Williams DESIGN SECONDMENT Angelica Madani SET BUILT BY Sydney Theatre Company FREIGHT PROVIDED BY ATS Logistics ONLINE RESOURCES MACBETH © Bell Shakespeare 2019, unless otherwise indicated. Provided all acknowledgements are retained, this material may be used, reproduced, and communicated free of charge by educational institutions in Australian and overseas. Macbeth Online Resources 5 INTERVIEW WITH THE DIRECTORS ONLINE RESOURCES MACBETH © Bell Shakespeare 2019, unless otherwise indicated. Provided all acknowledgements are retained, this material may be used, reproduced, and communicated free of charge by educational institutions in Australian and overseas. Macbeth Online Resources 6 INTERVIEW WITH What personally excites you about the play? DIRECTORS AMY Huw: One of the most exciting things about this play, and what makes it so HARDINGHAM AND interesting from a theatrical perspective, is its single-mindedness. There is just HUW MCKINNON this one storyline and it is relentless – there’s no space left for subplot, it’s intense and never lets up. It’s one of the few Shakespeare plays where there’s only one story line, and he makes it virtually impossible to work out the timeline of events. Somehow he manages to compress time and that makes the story feel completely unrelenting and fast-paced, and it never gets boring. What’s also exciting for me personally is that the more time you spend with Macbeth, the more you notice different elements you may not have noticed the first time you examined it. This time around, and directing it for school students, I’m particularly noticing the children in the play and what I think he’s trying to tell us is what we can learn from children. I’m noticing more about what Shakespeare was desperate for us to notice, about the way we do things as humans, the ways we choose to behave and how we choose to structure our world. Amy: Something that really excites me about this play is the supernatural elements — the role they play in the story and what they can bring theatrically. In this play the witches are a contemporary lens into the world of Macbeth and we are so excited to see how our audience responds to our use of video and projections. One of the other things I’m really excited about is the audience – we’re making this play specifically for young people and we have put a lot of effort into finding the things in the story that will appeal to this particular audience. What we really want to do is give them the emotional response to the play that the people watching this play for the very first time would have had! We want to make it scary and exciting and thrilling and visceral! What can you tell us about the world of Macbeth that you are creating? Is there a specific time period? Is it modern or does it borrow from history? Huw: Shakespeare chooses his settings because of how they serve the story he’s trying to tell. I don’t think he particularly wanted to tell a story about Scotland in the 11th century but this particular story needed to be told in a place where the elements were unforgiving, where the environment was a huge part of people’s lives. For example, with Lady Macbeth and what’s driving her — she doesn’t just want to be queen so she can be rich, she wants to be queen so she can be warm. This harsh environment of Scotland in the 11th century allowed him to tell this story best. Amy: We really want to create a world on the stage that channels the qualities of the world of the original play. So the world that we are creating works for the themes in the play, but it’s definitely not set in a time period that our audience will be able to identify as 11th century Scotland. We’ve borrowed some elements from the world Shakespeare set his play in, in some of the costumes and in the way our characters relate to each other; but we’ve also introduced some very contemporary elements in how we’re working with video and how we’re working with costume and composition and sound design. That has been really important to us – the juxtaposition between those medieval elements and the modern world. ONLINE RESOURCES MACBETH © Bell Shakespeare 2019, unless otherwise indicated. Provided all acknowledgements are retained, this material may be used, reproduced, and communicated free of charge by educational institutions in Australian and overseas. Macbeth Online Resources 7 How would Shakespeare’s original audience for Macbeth have received the play? How is it different than how we as a modern audience receive it? Huw: One of the main differences in how Shakespeare’s original audience would have received this play is to do with the witches. Audiences in Shakespeare’s day had a much clearer, more commonly understood idea about what a witch was and what a witch could do and why they were to be feared. One of our guiding principles was not necessarily to recreate an early 17th century idea of a witch but to give our audience a similar experience – to give them characters that are volatile and unpredictable and have a power people don’t necessarily understand. And we would love our audiences to feel a little fear at times, because in Shakespeare’s time audiences would have a genuine fear of what witches could do. That’s the main difference for a modern audience – because we’re not really scared of witches in a way people might have been 400 years ago. Amy: Shakespeare’s audience would have also been preoccupied with ideas of royal succession, and they were grappling with ideas around the divine right of kings and whether kings really were next to God – that was their world. It was a prevalent issue in those times, but it’s an idea today that people don’t necessarily have to contend with – particularly not in 21st century Australia. So for this production we’ve dug in below the political nature of the play and focused on exploring how all the relationships work and looking at the human factors beneath the political stuff; looking at themes like suspicion, and public personas vs private personas – topics that are still hugely relevant for a modern audience. You’re exploring the integration of technology in this production. Why did you decide to do that? How will it function to help tell the story of Macbeth? Huw: One of the challenging things about this play for audiences today is believing that Banquo and Macbeth – two of the greatest, bravest soldiers the world has known – are terrified of these young women, of the witches. Today, we’re not scared of witches so much, but we are scared of the power of young women, and of course that’s where the fear of witches came from in the first place — the power of young women. This is where the idea for the use of video came from. We’re not using video as a setting; the video is part of the magic that the witches have. Amy: We really wanted to do two things with technology. We wanted to give these women power to comment on the world of the play, to make mischief with the world of the play, and the technology allows us to do this beautifully. But we also needed, from a purely theatrical perspective, to create something that would confront these soldiers, something that audiences believe they would be scared of. In our play, part of the witches’ magic is that they can make themselves appear on a cliff face four meters high – which would be pretty unnerving for anyone to see. So, we’re using the technology to unnerve these characters in the world of the play but also to give these young women their power, their magic. ONLINE RESOURCES MACBETH © Bell Shakespeare 2019, unless otherwise indicated. Provided all acknowledgements are retained, this material may be used, reproduced, and communicated free of charge by educational institutions in Australian and overseas. Macbeth Online Resources 8 It’s unique to see two directors on one production. Can you tell us about how a directing partnership works? What are your different backgrounds, and are you similar or different in how you approach the play? Amy: There is a long tradition of collaboration in theatre; Shakespeare was a great collaborator, and many great artists of the 20th and 21st century use collaborative practice.
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