Macbeth

Macbethis the last chance for the public to see WAAPA's Graduating Acting Class as an ensemble, before they move out into the real world. With the vast majority of this cohort already having secured work post-graduation, it seems that the infamous bad luck of Shakespeare's Scottish play is not going to haunt these young performers.

Benjamin Kindon is outstanding in the central role. Sweet-faced and likeable, his lustful ambition and cruelty seems even more disturbing and his performance is heartfelt and powerful.

Beautiful Shalom Brune-Franklin is a stunning Lady Macbeth, whose descent into madness is skilfully played.

The three witches (who double as servants and messengers — giving an interesting twist) are attractive manifestations of the dark side, and powerfully played by Brittany Morel, Harriet Gordon_Anderson and Stephanie Panozzo. They are also part of an interesting pre-show, which draws the audience into the world of this production.

Also part of the pre-show was Megan Wilding who brought comedy and improvisation skills to The Porter - a superb comedienne who also demonstrated stillness and depth as The Gentlewoman.

Jessica Paterson made a regal and believable Malcolm in a cross-gender casting that allowed her to remain feminine yet powerful. Dacre Montgomery transformed well from a charming Banquo to his ominous, disturbing ghost.

Lincoln Vickery brought maturity and status to the role of Duncan, doubling nicely as the Scottish Doctor, while Hoa Xuande's anguish as Macduff was unnervingly palpable.

The murder of Macduff's family was a particularly strong scene, with excellent performances from Rian Howlett and Bevan Pfeiffer as West Side Story styled, but viscious killers, with Rebecca Gulia as the determined Lady McDuff and Harriet Gordan Anderson as her son.

Rounding out the cast with strong performances were Brendan Pfeiifer (Donalblain), Claudie Ware (Lennox/Gentlewoman), Luke Fewster (Rosse), Seamus Quinn (Menteth/Angus) and Elle Harris whose Fleance/Hecate/Seyton tripling was particularly impressive.

Ashliegh Hodges' set is simple and stark — an appropriate present-day reinterpretation of the Shakespearian original, spiced up with AV screens (Max Mackenzie) and dynamic lighting design from Chloe Oglive.

The show is set in a corporate-world present day and Dolly-Mere Nettleton's heavily suited yet cleverly considered costumes set the scene beautifully.

Particularly notable were the fight sequences — with direction by Andy Fraser. This production is played almost in the round, and the ferocity was quite confronting.

Andrew Lewis provides us with a production that both inspires old-hands and students studying Macbeth (why this show is not packed to the brim with high school students I can not explain) and showcases the formidable talents of graduating WAAPA students, not only in Acting but in Production and Design.

Kimberley Shaw

Photographer: Jon Green