The Royal Shakespeare Company presents Macbeth, starring Sam Heughan in the title role, in an atmospheric, immersive production at The Other Place in Stratford-upon-Avon. 

Shakespeare’s bloody and slightly supernatural tragedy is shown at its most violent, with the brutal elements of the story brought into full view. The production is inspired by Glaswegian gang warfare, with the action taking place in a pub - a setting used to great effect - and the concept illuminates Shakespeare’s story of ill-fated ambition. 

King Duncan (Gilly Gilchrist), a mob boss figure, maintains control of his territory through the violent actions of his men - the heroes of the hour being Macbeth, who is commended for his actions, and his friend Banquo (Nicholas Karimi). However, fresh from the fight, Macbeth and Banquo have met three otherworldly women - the play’s famed ‘weird sisters' - who have prophesied that Macbeth will not only be elevated in his position by the King, but is also fated to become King himself. The prophecy sets Macbeth on a bloody path to achieve his ambition, encouraged by Lady Macbeth (Lia Williams), his wife. 

Sam Heughan is a powerful lead, and paired with Williams, the duo bring out the unspoken depths of Macbeth and his Lady. Director Daniel Raggett has chosen to bring the violence of the story into the foreground, and at close quarters in The Other Place, this is even more affecting. The whole cast are instrumental in establishing the tension of the play - with the audience seated in the round, and drawn into the action, there is nowhere to hide. 

Luckily, the cast is well-suited to the challenge. Karimi’s Banquo is an engaging contrast with Heughan, King Duncan is resolute while his son Malcolm (Calum Ross) pales, and straight-laced Macduff (Alec Newman) has a quieter power. Although the characters might be distinct, there is no doubt that this is a once tight-knit community that is swiftly unraveling. 

The three ‘witches’ (Eilidh Fisher, Irene MacDougall & Alison Peebles) are less outwardly magical, and more a sinister interpretation of ‘pub regulars’ - who nevertheless hold unwavering power over Macbeth. Whenever they are on stage, the atmosphere of the whole theatre darkens. 

The set and costume design by Anna Reid is particularly effective. It’s unmistakably a pub - with ubiquitous round tables, a well-stocked bar, foam tiles on the ceiling and a spill-disguising carpet below. The effect is close and claustrophobic - with the audience seated on the boundary of the pub, and sounds heard from ‘outside’, Macbeth’s domain within feels vulnerable. This is intensified by Ryan Day’s lighting design, which allows the set to morph instantly from mundane to supernatural. 

Raggett’s Macbeth is a tense, immersive reimagining of a violent tale, which leaves nothing for debate - instead, clashing personalities, evil deeds and the dark depths of the human psyche are brought into cold, harsh light. In The Other Place, it's a powerful watch.