Macbeth

Out of the play’s overt concern with good and evil, we get morally fragile characters, threatening to fall apart at any time. And from the very start Jana Schulz leaves no-one in any doubt about what kind of effort Macbeth, who is relieved to have survived the war, requires to bring thought and feeling together into any kind of functioning unity. She presents a shivering bundle held together by a few masculine poses, so deeply disturbed by the violence and slaughter of battle that any reliable sense of self has evaporated. After two short hours without a break, a different ‘Macbeth’ is related to the usual portrait of a villain: a shrill ballad of traumatised warriors who have lost any moral compass and for which they cannot even be criticised.

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