Entertainment Hive 2020

Signifying Nothing

Holden Street Theatres, The Studio, until March 19

Review by Honey B

Greg Fleet’s ingenious re-working of Shakespeare’s Macbeth comes at the perfect time. The two-hander production presented by Hammond Fleet Productions spins the well-known, blood-thirsty tale into a riveting political power-play. With the seemingly never-ending backstabbing in Australian politics, the communities wavering belief in politicians and add to the mix Donald Trump – Fleet has read the landscape well. Much of the death in this play is by media, however poor Banquo (Luke Hewitt) does meet an untimely end and is also roasted in the media – so it’s double toil and trouble for him. The play opens on the eve of the Western Australian state election. Paul Macbeth awakes after a dream that he would be Thane of Cannington, Thane of Claremont and finally King. Of course Macbeth wins the Perth electorate of Cannington, but he’s not about to stop there. The Macbeths are a true power political power couple and wife Lainey is not afraid to get some blood on her hands – or send a few photos to the News of the World. The action all happens in the bedroom as the couple plots the downfall of the premiere and anyone who gets in their way. Fleet played the egomaniacal, cocaine-snorting, foul-mouthed pollie to perfection. His political speech to the Hilltop Hoods tune The Nosebleed Section was pure genius. However, it was Bartlett who stole the show as the ambitious, clever Lady Macbeth who slowly unravelled throughout the piece. The script was very cleverly written with quite a few famous Shakespearian lines interspersed throughout the script. The narrative was very punchy. Media was used to great effect throughout with the voters/witches shown on-screen as their creepy phrases distort. This was theatre presented in a smart, dryly witty and in-your-face way. Don’t miss it.
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