Picture this: a timeless tale of ambition and betrayal unfolding in a gritty Glasgow pub—complete with spinning fans, beer taps, and even a ghostly apparition at the bar. That's the electrifying premise of the Royal Shakespeare Company's latest production of Macbeth, starring Outlander's own Sam Heughan, and it's sparking buzz like never before. But here's where it gets controversial: does transplanting Shakespeare's Scottish tragedy to a modern gangland setting elevate the drama or dilute its historic depth? Stick around to explore this bold reimagining and decide for yourself.
You've probably heard of the 'Outlander effect'—how the time-traveling romance series, set in Scotland's turbulent past, has skyrocketed tourism to places like the Highlands and Edinburgh Castle. Well, let's coin a new term: the 'Sam Heughan effect.' This 45-year-old Scottish actor, beloved for portraying the rugged Jamie Fraser in Outlander, is the magnetic force behind the scarce tickets for this RSC Macbeth. His portrayal of the ambitious warrior king is not just plausible; it builds compellingly from start to finish. Early on, he comes across as a bit too rigid, almost unapproachable, when sharing intimate confessions directly with the audience. But as Macbeth's actions delve into darker territories and his guilt mounts like a storm cloud, Heughan's performance truly shines—a promising showcase for his future roles once Outlander wraps its final season next year.
Paired with him is Lia Williams, a talented English (or 'sassenach,' as Scots might playfully call outsiders) actress stepping into the shoes of Lady Macbeth. For those new to the story, Lady Macbeth is the cunning wife who spurs her husband toward regicide, her ambition often portrayed as fierce and manipulative. Here, she's given a more central role, starting as the dominant force in their partnership but gradually pushed to the sidelines as Macbeth's hands become bloodied. Williams delivers a haunting presence, attempting to rein him in from the edge before tumbling into madness herself, culminating in a shockingly effective hanging scene.
Now, can we talk about the setting? This production, directed by Daniel Raggett, is wildly inventive yet occasionally feels disjointed. It's set in a late-20th-century Glasgow pub—a nod to the city's industrial grit, with patterned carpets, whirling ceiling fans, and even glowing brewery logos illuminating the stage. The Weird Sisters, those mysterious witches who prophesy doom, lounge around a pub table, while Banquo's ghost appears, blood-soaked, perched on a vacant barstool amid a raucous funeral feast. Throw in a mix of vests, Hawaiian shirts, and a rowdy piano sing-along, and you've got an atmosphere that's equal parts atmospheric and intimate—perfect for an evening of surprises.
And this is the part most people miss: the audience is seated on all four sides of the playing space, creating an immersive, theater-in-the-round experience that draws you right into the action. It's a clever conceit that works wonders for the lighter first half, transporting you to this pub-world with ease. But as the play shifts to its moodier, smokier second act—think scenes of murder and moral descent—the pub backdrop occasionally fades into the background. Still, it never fully disappears; you're always aware of the setting, even during chilling moments like a mother and child being led away to their brutal end with a hammer.
That said, the chemistry between Heughan and Williams isn't always electric enough to fully convince us of their unity or division as a couple. Williams excels in her efforts to save her husband from ruin, but the spark feels intermittent. This Macbeth moves at a brisk pace, with some scenes shortened and court hierarchies simplified, which means the full horror of the atrocities—let's clarify, the play's violent betrayals and killings—doesn't always hit home as deeply as it could. The final showdown, featuring a gaunt Macduff (played by Alec Newman, whose grief over his murdered children is genuinely heartbreaking), feels rushed, even after Macbeth dramatically torches the place with petrol. Yet, it's never boring; in fact, it's often inspiring, thanks in part to the standout debut of young Calum Ross as the future king Malcolm.
Will this production etch its name into theatrical history like the 1976 RSC Macbeth with Ian McKellen and Judi Dench? That's a lofty standard this version doesn't quite reach, but it's undeniably memorable. For beginners diving into Shakespeare, this modern twist makes the dense language and themes more accessible by grounding them in familiar, everyday visuals—think of it as updating Romeo and Juliet to a modern-day feud between rival coffee shops.
So, what do you think? Is remixing a classic like Macbeth in a contemporary pub setting a brilliant innovation or a risky gamble that undermines its timelessness? Does Sam Heughan's star power justify the hype, or should the focus stay on the text alone? And here's a thought-provoking twist: could this 'gangland' interpretation subtly critique modern power struggles, from corporate boardrooms to political arenas? Share your opinions in the comments—do you agree with the high praise, or is this one Macbeth that misses the mark for you? Let's discuss!
★★★☆☆
155mins
The Other Place, Stratford, until December 6. Book via rsc.org.uk.
