(Harrow County School play, produced by Martin Walker in 1966 and reviewed by Stephen Adamson in the Gaytonian Magazine.)
'Macbeth' may almost be called the conventional school play. We are all used to the spectacle of an evil, uxorious Macbeth fumbling his way in desperation to the reward for his crime. However, conventionality is the last word to be used to criticize this year's school play. Martin Walker, the producer gave us an interpretation of phenomenal brilliance, and, allied with Bruce Lidington's handling of the decor, a production worthy of the highest praise.
The new Macbeth was the brave soldier, whose deeds of valour were not restricted to the battlefield, but whose whole life was permeated with the warrior's strength and courage. This role was played by Geoffrey Haines-Stiles, whose only weakness in his otherwise forceful portrayal was, unfortunately, his size.
Yet Martin Walker was trying to tell us more than just the story of an individual. Macbeth was the hero of a culture, the Viking culture, symbolised on stage by the helmets and the eagle emblem. This was in conflict with the Celtic culture of the court, symbolised by the ornate cross. The court was effete and relied on the Vikings for its protection against its foes. Duncan himself was homosexual, a role which was played with outstanding finesse by Bill Davies, perfecting an over-refined accent, and slightly waddling with a haughty walk. On the other hand, Macbeth's castle at Forres if anything suffered from a surfeit of virility as Seyton pinched the serving-maids' bottoms and even cuddled Lady Macbeth.
There was something squalid and distasteful about the Duncan circle, but with Macbeth the women were beautiful and the men were true embodiments of manhood. Even the witches were silky sirens, moving and speaking with modern elegance and a flowing mystery. Or so they appeared to Macbeth, and so they were to us right from the rise of the curtain. However for the other characters they donned masks and appeared the traditional hags.
However, Macbeth was doomed to fail, opposed as he was by supernatural forces. Despite this, he grew in stature as the play progressed. Unsure at first, he so overacted his grief at Duncan's death that the Celtic lords encircled him threateningly until he was saved by his wife's timely faint. Gradually he became harder and bolder, accepting Lady Macbeth's death unemotionally. He met Macduff bravely and would have killed him had he not been restrained by Macduff's Myrmidons.
Some of the actors' voices were lost in the supernatural gloom, although francis Matthews' Ross rang out in an incredibly mature performance for one still in the Second Form.
In spite of the many dark scenes, the lighting was most effective as Burnham Wood marched on Dunsinane. Instead of short scenes with armies marching on and off ludicrously, both armies were on stage together, with one lit up at a time; Macbeth was constantly on the mound in between them, an undaunted challenging figure.
One may not agree with the interpretation, but it was certainly thought-provoking. At the end there was only regret as we saw all Macbeth's work defeated when the weak Malcolm was carried off on his father's litter. The wheel had come full circle.
(Gaytonian 1966)