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Robert Hastie, who received the 2017 OSA Alumni Award, directs Macbeth.

Venue: Sam Wanamaker Playhouse, Shakespeare’s Globe, Bankside, London SE1 (020-7401 9919). Running until 2 February

Financial Times
‘Hastie’s Macbeth fully, wonderfully gets the measure of the play’

The Telegraph
'Psychologically coherent and deliciously tenebrous’

‘The most potent theatrical moment of the year’

Daily Mail
‘This Macbeth delivers a delicious bump in the night’

The Times
‘A startlingly good production that will really get into your head’

Press Comments: (From The Week)

Claire Allfree in The Daily Telegraph writes that there have been so many ropey Macbeths of late you might almost start believing in the superstition that this play is cursed. She is relieved to report that Robert Hastie’s “psychologically coherent and deliciously tenebrous” production in the Globe’s indoor Sam Wanamaker Playhouse is first-rate – “beautifully thought through”, excellently acted and with the eerily “immersive feel of a séance”. Granted, Hastie has the advantage of this intimate theatre’s candlelit claustrophobia. But so fully does he exploit the “crepuscular setting”, I’d rate this as the Globe’s “best Shakespeare show in years” – and a welcome hit.

If anyone suspected nepotism in the casting of Terry’s husband, Paul Ready, as Macbeth – opposite Terry as Lady Macbeth – then it “takes all of, ooh, ten seconds to know better”, said Dominic Maxwell in The Times. Ready, a “tremendous” stage and TV actor (Motherland, Bodyguard) is “startlingly good” as a “beta-male” Macbeth who is “palpably out of his depth” from the start. We feel his “descent into nastiness, panic and cynicism” as our own; “every line sounds newly found”.

On line: Libby Purves – Theatre Cat - My Theatre Mates writes that it is ‘Third time lucky: after two glumly disappointing 2018 productions steeped in directorial gimmicks – RSC and NT – the candlelit cramp of the Wanamaker gives us back Macbeth. Here in Robert Hastie’s careful production is all the horror, psychological acuity and profound, terrified morality of Shakespeare’s darkest play. Darker it is than the wickedly playful Richard III or the ludicrously bloodthirsty Titus Andronicus, because of its very intimacy and humanity.