Blue Door theatre group aims to recreate dark, supernatural world of Macbeth for autumn performance at Bull Theatre, High Barnet

High Barnet’s acclaimed drama group is busy rehearsing for their autumn production — an imaginative presentation of The Tragedie of Macbeth, William Shakespeare’s play about the destructive consequences of unchecked ambition and political power.

Macbeth is a classic tale about a murderous medieval king which director Siobhan Dunne says seems so relevant to the events of today in a world troubled by despots, bullies and tyrants prepared to murder to get power.

Her innovative production aims to break new ground with original live music and projections designed to recreate the dark, supernatural world of the weird sisters – the three witches who appear to Macbeth and Banquo.

After several recent sell-out productions retelling the history of Barnet, the Blue Door Theatre Company are determined that their interpretation of Macbeth will be another milestone for one of the Bull Theatre’s most exciting and original community theatre groups.

There will be four performances from Thursday 16 October to Saturday 18 October – just the right timing for any local students for whom Macbeth is a set text for GCSE English.  (Tickets £15 via www.thebulltheatre.com)

For Siobhan Dunne this will be a first – the first time she has produced Macbeth with a full theatrical company.

Together with other members of her production team – above, from left to right, movement director Naomi Richards, Siobhan Dunne and composer Nick Godwin — they are planning a performance which will conjure up a supernatural atmosphere full of music, sound and eye-catching projections.

“Shakespeare’s intention in Macbeth was for us all to hold a mirror up to ourselves and what better time to delve into the corrupting effects of war and power-hungry despots,” said Siobhan.

“For anyone studying Macbeth, our production should be particularly exciting and rewarding as the key features of the story are perfectly underlined.”

The two lead characters — Macbeth (Francesco Giacon) and Lady Macbeth (Claire Fisher) — recognise the challenge they face in getting to grips with two of the most demanding theatrical roles.

Francesco agrees that it is no easy task trying to understand Macbeth’s character and then think how best to play the part.

“I am having to make a personal assessment of how to portray a complicated and perplexing role, someone who is ambitious, a murderer, paranoid and resigned to his fate, but then defiant when he realises the game is up.”

Claire Fisher, whose first play Mary Livingstone, I Presume? was performed at the Bull Theatre earlier this year, is relishing the chance to perform a celebrated Shakespearean role.

“I am trying to find the right balance between Lady Macbeth’s ambition for Macbeth and for herself, and she is not a very nice person.

“Together we have some intense scenes, and we have to pitch it right. We are a married couple in a very tempestuous relationship egging one another on to destruction.”

Claire said that after the challenge of writing the drama about the ghost like presence of Mary Livingstone, inside Livingstone Cottage on Hadley Green, she was so enjoying the opportunity to take part in Macbeth.

“Shakespeare’s words and poetry have such a wonderful rhythm. They are certainly easier to learn than anything I might have written.”  

In Shakespeare’s day there were not many props in his productions as most of the interpretation was through the acting but over the years scenery has had an increasingly significant role, which has presented a challenge for another Blue Door stalwart.  

Sculptor and artist Cos Gerolemou (above) who has worked behind the scenes on so many of the company’s productions, has been preparing some blood-thirsty props – including Banquo’s mask.

“Perhaps the grisliest of all is Banquo’s head in a sack. I think it is pretty realistic.

“What has been so fascinating for me is thinking whether Shakespeare would approve of what I’ve created.

“There weren’t many props in Shakespeare’s day but with the passage of time there is greater interpretation of his works and that’s where props and scenery play their part.”

Siobhan is sure the audience will be wowed by the amazing masks which Cos has made.

“One of the key aspects of Macbeth is that the characters don’t show their true selves.

“So, to have hooded or masked characters is a classic Shakespearean ploy for people who are not presenting themselves as they truly are.”

Another innovation for the production is the original musical score composed by Nick Godwin who plays guitar for the North London group The Silencerz.

“I hope what I am creating with the music and chorus is the right mood for a Shakespearean tragedy like Macbeth,” said Nick.

“All the texts are there for the songs in Macbeth but the music that was played at the time of those first performances has disappeared over the years.

“So, it is a real privilege for me coming at this afresh and trying to put music to the words.

“The musical score has a real part to play. For example, the three witches are played in so many different ways. They can be fairly childlike or frightening and intimidating. So, the composer has a choice.”

Nick has put together a team of musicians including violinist Helen Brown and bass player Ned Wilkins.

Siobhan says the Blue Door group is also so pleased to have support and advice from Naomi Richards who has become movement director for the production.

“For ten years, Naomi performed and toured with the percussion group Stomp, so she knows all about the importance of physical theatre.

“This will be of real help in advising the cast. We are all trying to recreate the dark surroundings and supernatural world of Macbeth. We are determined our audiences will get to see a unique production.”