Review: Macbeth, Manchester International Festival

When I emigrated here a decade ago, I had some vague notion I’d always be swanning off to the RSC. Needless to say, this has not come to pass. Which is how I found myself last night in a deconsecrated church in Ancoats, sweaty and nervous, about to have my first live experience of High Church British Shakespeare courtesy of Manchester International Festival. I don’t know why I was so nervous, because of course Kenneth Branagh and Rob Ashford's Macbeth was great. Of course it was.

They somehow managed to fit Scotland into that little place, complete with rain, mud and peaty smells. The staging was in-your-face, with armies charging about in the muck and much brutal rutting and grappling inches from the audience. It was cleverly done: resourceful use of the natural lighting provided by the building, and a set that addressed the problems of this unusual venue (spoilers!). And the cast was pretty good overall. The Sainted Sir Ken was as good as you'd expect. Alex Kingston was a tremendous lady Macbeth, with other standout performances from Ray Fearon as a quietly imposing MacDuff and Daniel Ings as the porter, who provides the few laughs what is not a exactly a chucklefest of a play.

To commit murder for personal gain is to destroy your own faith in humanity, and any hope for peace you might ever have, because you truly understand the horrific lengths people will go to. This production was especially effective in showing us the progress of this revelation within the minds of Macbeth – once a good man worthy of trust – and Lady Macbeth, who couldn’t harden her own heart enough. When their stifled consciences caught up with them, erupting into feverish visions and waking nightmares, madness was the inevitable result. Followed swiftly by death, which felt like a blessed relief for everyone concerned. 

It was a relief for all of us in the audience too, because the seating was maddeningly uncomfortable and it was hot enough to fry an egg on Macduff’s shield. Yes, I know uncomfy seating is the price we pay for getting to see theatre in unusual spaces. In this case, it was a price worth paying, but if I had stayed any longer in there I might have started having a few hallucinations of my own. As good as it was, the moment of emerging outside in the evening air was pretty much the highlight of the festival for me so far. I'm not alone. In his review, fellow blogger David Hartley picked this out as an issue for him too. A plea to theatre/festival overlords: we know you can't control the weather, but the comfort of the audience is worth thinking pretty hard about.

I always hate reading rave reviews of things that have been sold out for months, and tickets for this went in nanoseconds, though it’s always worth checking for returns on the day of performance. But look! National Theatre Live is screening it in cinemas all over the country. Hey, maybe they'll even have air conditioning.

Review: The Old Woman, Manchester International Festival

In the course of writing the preview of Manchester International Festival's production of The Old Woman for Creative Tourist, I was genuinely baffled about how they’d adapt Daniil Kharms’ text, an absurdist fable where much of the action happens inside the paranoid narrator’s head (which you can read online here). But playwright Darryl Pinckney cleverly appropriated bits from his other, similarly surreal writings, which gave the production some more source material to play with. Uber-director Robert Wilson used this to create a kaleidoscopic sequence of short sketches and tableaux, expertly performed by two world-class professionals. Watching it was a joyful experience – and an exhausting one. This kind of theatre-of-the-abstract demands a lot from its audience, and by the end of 90 minutes I was ready for a break. 

Dafoe and Baryshnikov were an inspired combination, utterly different actors but positive equals in their craft. Baryshnikov was a melancholy presence who moved about the stage with dazzling grace. Dafoe was a whirlwind – a demon gurning and glowering, then a daffy goof, then a maudlin Pierrot – with that blazing charisma that means you can’t take your eyes off him. The show moved us quickly across a variety of emotional landscapes, traversing jazzy slapstick, existential crises, tenderness, horror, and even straw hat vaudeville with the pair playing off each other like an absurdist Morecambe and Wise. But permeating the whole thing was that particularly Russian feeling – a blend of folk wisdom and gallows humour developed over centuries of hard labour, oppression, vodka and long winters. 

The topsy-turvy minimalist set was continually subjected to split second changes in lighting, timed to coincide with movements from the actors and sharp reports that sounded intermittently throughout the action, creating a jittery atmosphere like a giant clock ticking at irregular times. This production needed to be utterly precise to work, and with this crack team of course it was – but don’t try this at home, kids. The Old Woman is the theatre equivalent of jumping 13 Mack trucks on a motorcycle, and every bit as exhilarating to watch.

Image courtesy Manchester International Festival

Manchester International Festival 2013 launches

You can't beat the Manchester International Festival launch for pure spectacle. Every two years it's like Christmas morning for Mancunian culturehounds as we all eagerly pull open the ribbons to see what's inside. The full  programme revealed today for this summer's festival is a more serious and arguably more highbrow affair than what we saw during its previous three incarnations (Shostakovich and  Stravinsky? Whoa nelly.) But there's plenty of fun and games to balance out the heavyweight stuff, and on the whole, I think it's pretty darn exciting. A few themes emerged:

Art in a dark time: The ever-awesome Maxine Peake explores protest and Manchester's radical history with a performance of Shelley's poem, The Masque of Anarchy, about the Peterloo Massacre, which was banned for 30 years after publication. Massive Attack collaborate with filmmaker Adam Curtis (of MIF 2009's It Felt Like a Kiss) to create a musical experience that explores "the power of the illusion and the illusion of power". Evan Davis hosts a debate about whether we're too apathetic or complicit to make protest meaningful today. Several references throughout the presentation to the difficult times we're living through, and moving closing remarks from director Alex Poots thanking Manchester City Council for standing up for (and footing the bill for) the arts. This will be the festival in which the art world formally responds to the financial crisis/austerity regime/corporate takeover of society/erosion of civil liberties... and about bloody time, too.

'Found' spaces: The jaded Mancunian culturegoing public love nothing better than to feel like they're getting let in on a secret these days. Hidden, unusual or unexpected spaces are all the rage, and MIF have cleverly managed to find some pretty special city centre venues hidden in plain sight. This year's performances will be staged in Mayfield Depot, the Albert Hall, an as yet unnamed deconsecrated church in the city centre for Kenneth Branagh's take on The Scottish Play and a 60-capacity venue they're keeping schtum about for the xx (can there be any underground tunnels, shelters or bunkers we haven't yet raved in?) Google Maps will be getting a workout.

User-generated/participatory art: In several parts of the programme the line between artist and audience blurs in a way that feels just right for 2013. There's the opportunity for local cutting-edge comedians and musicians to get exposure via Jamal Edwards' YouTube sensation SB.TV live. And MAG's rework of seminal art instruction manual do it  at MAG promises to make going to an exhibition a participatory experience to remember.

Street food: Yes, MIF are once again perfectly on-trend with the choice of street food carts to provide food for the launch, a taster of what will be on offer at the festival pavillion (and we can report that the hot dogs will be pretty damn good.) With Grillstock coming in June this is shaping up to be a very tasty summer in Albert Square. Let's hope they get those Guerrilla Eats collective folks involved for some properly homegrown street food. And speaking of homegrown, MIF is now probably the first art festival in the world to be growing vegetables courtesy of the fantastic Biospheric project. Tasty.

Tickets on sale from 10am tomorrow, kids. Keyboards at the ready? (*flexes fingers*) See you there.