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MACBETH
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It is, euphemistically speaking, the Scottish play. Fated forever to be Glamis’ second most famous dead inhabitant, Macbeth comes again to Edinburgh for the International Festival, this time in the care of Rotterdam’s ro theatre company. But the production, under the direction of Alize Zandwijk, will not exactly be of the Bard we have come to know and love. For a start, Shakespeare’s text has been adapted by Hugo Claus, and
translated into Dutch.
Since joining ro theatre company, Zandwijk has acquired something of a reputation for her intense and contemporary treatment of classical texts. In 1999, she brought her first production for the company, Gorky’s The Lower Depths, to the International Festival, garnering critical acclaim across the board for its intense and graphic presentation of broken people struggling with their squalid existences. Now she returns with this radical interpretation of Shakespeare’s darkest portrait of humanity.
The focus for Zandwijk’s production will be on the oblique presence and references to children throughout the text, shaping a disturbing vision of family tragedy. ‘I consider the family perspective and the fact that the couple is childless very important,’ she says. ‘A lot is said about children in the play. Maybe the Macbeths had a child that died. Barrenness or the loss of a child has an enormous impact on human life. You could say that he murders his whole family symbolically: Duncan, his father figure, then his brother, Banquo, then his wife and child, Lady Macduff and her son.’
The traditional witches in the play have been replaced by a woman and two or three children, figures omnipresent in Macbeth’s life. ‘Children are evil too,’ Zandwijk says, ‘I will leave no
illusions about that."The Macbeths are a disintegrated family,’ Zandwijk believes, ‘and, ultimately, all great tragedies are family tragedies as well.’ (Gareth Davies) I ..'./’/'a(:.')e:!/‘. Rota: I ,'i
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