Macbeth is one of the most frequently staged works in Shakespeare's canon. In terms of running time, it's said to be his shortest tragedy, and the elements of murder, mayhem, and the supernatural make big impressions because they take up so much of the story's content. Add to that how several of the principal characters are fully developped and often engaging, and you have an appealing dramatic work that could easily be well-presented, but, because it is, after all, written by William Shakespeare, could just as easily be botched up.
Luckily, this 1979 version is a fine rendition of "the Scottish play". As co-directed by theatre afficionado Trevor Nunn, the production opts for minimalist, rather than lavish, set pieces (which are more frequently the case with Nunn's shows). He and Philip Casson take a claustrophobic approach to the material, relying heavily on lighting and the performers themselves for mood and atmosphere. It's a bold but effective choice.
The story is familiar for those who have studied the play in high school. King Duncan has welcomed two soldiers back from the battlefield, Banquo and Macbeth. The pair has previously been relayed confusing prophecies by three witches, which hint at future successes and titles, particularly for the ambition-smitten Macbeth. After the king has been murdered by the title character, Duncan's sons Malcolm and Donalbain go into hiding for fear of suspicion, and Macbeth assumes the throne. After offing his best bud Banquo and slaying fellow nobleman Macduff's wife and children, Macbeth is pursued and defeated by an army of men seeking justice and revenge.
Ian McKellen plays Macbeth and it's a complex and satisfying offering. He is paired with Judi Dench as the persuasive Lady Macbeth. Their scenes together are dynamic and always filled with spark. Former Cheers recurring actor Roger Rees (Robin Colcord) plays Malcolm, and the Emperor from the Star Wars films (Ian McDiarmid) is splendid as both the well-informed character Ross and the comic relief role of the castle's Porter. John Woodvine (An American Werewolf in London) is also strong as Banquo, however Bob Peck didn't quite do it for me with his interpretation of Macduff. Peck was too sentimental and emotional when Malcolm tests his loyalty, then far too passionless when he is told that all of the members of his family have been slain.
Overall, the best aspect of this production of Macbeth is how much that is accomplished with so very little. None of the plot points or themes are lost, despite the artistic decision not to physically present those supernatural scenes involving floating daggers and Banquo's ghost. It's a reminder that with the proper caliber of cast, a Shakespearean production can be just as effective with only the performers themselves to support it. Although I haven't viewed any other versions of the Scottish play, this one is certainly top notch.
