"What’s done cannot be undone." I hope this contention is true when it comes to the after-effects of this production. Saskia Ross's directorial debut is incredibly slick and professional, showcasing the brilliant talents of the BME community. Many of the cast and crew members have done little else in Cambridge theatre, and now there is definitive proof that the lack of representation in casts is not down to a lack of talent; instead it is down to an inherent problem within the Cambridge theatre scene that alienates BME creatives. 

The cast as a whole were incredibly talented, but special attention must be given to Seun Adekoya, whose portrayal of Malcom bought an often overlooked character to the forefront of the audiences mind. Adekoya was particularly powerful when interacting with Macduff, acting like almost a devil on her shoulder. Special mention must also be granted to Xelia Mendes-Jones’s Macduff, whose heartbreak and anger was powerful and moving in equal measure. Lady Macduff, played by Sophie Mae Grant, also stood out. In a short amount of time, she was able to imprint herself in the audience’s mind, portraying both her character’s fear for her life and a tenderness towards her son with equal prowess. 

"But of course, a performance that cannot be ignored is Malcolm Ebose’s as Macbeth. He was simply delightful"

In fact, many of the cast created memorable performances. Anand Joshi perfectly demonstrated Banquo's changing feelings towards Macbeth in an incredibly natural performance that made Shakespeare’s sometimes difficult prose lucid and completely comprehensible. Diamond Abdulrahim as Lady Macbeth really came into her own in the famous "Out, damn'd spot" soliloquy, giving the audience a true sense of subconscious horror seeping through to the surface.  

But of course, a performance that cannot be ignored is Malcolm Ebose’s as Macbeth. He was simply delightful. He perfectly dealt with Macbeth’s initial indecision about murder and throughout the play, developed into an increasingly arrogant character, complimented by his more extravagant costume when King. The rapid changes in emotional beats between his interactions with other characters and his soliloquies, his real engagement with the audience throughout monologues and his incredibly naturalistic performance led the audience to empathise with Macbeth and proved Ebose’s prowess and professionalism as an actor. 

And it was not just the cast who shone. While Hannah Short, Elise Liu and Amiya Nagpal were all delightful in their portrayal of the three witches, the use of specific lighting and sound for their appearances added to their chilling performances. The subtlety of choice, using different music for different characters and different lighting for different emotional nuances, influenced the audience’s comfort levels and emotions in a deceptive and subliminal manner.

Costume designers and prop designers, too, were excellent, showing real innovation and skill, bringing a contemporary feel to the play. The use of theatrical space was also pertinent, as the ambience of the church simultaneously felt uncomfortable in its sacrilege, with tales of murder playing out in a place of prayer, and perfect with a carving of the last supper watching over the story of betrayal. The action was not limited to the front of the church but occurred throughout the pews, deeply involving the audience into the production.

Yet, the venue choice meant that projection was problematic, and this, coupled with some nervous performances, meant that some meaning was lost. The layout of the church meant that visuals were also sometimes impaired and the small size meant that seating everyone in a sold out venue was difficult, though the director and stewards were incredibly friendly and adept at seating everyone. 

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Despite the venue, the director did an excellent job with the limited space, and her impressive directorial decisions to explore gender in the play should also be noted. Ross's decision to make Macduff female allows for a presentation of both strong female characters and homosexual relationship that does not relish in its own inclusiveness but instead states things as they are. Her decision to also have a female as the doctor and male as Lady Macbeth’s nurse maid further showed a reversal of gender that did not seek to praise itself for equality but instead presented equality as an everyday way of life. 

"Brace yourself for hidden gems of talent"

The acting was wonderful, the design was excellent and the directorial choices even better. If you want a night where you are both entertained and moved, then this is the perfect production. Brace yourself for hidden gems of talent, deserving of notoriety in the Cambridge theatre scene. It’s about time that Cambridge Theatre as a whole follows suit to embrace the incredible talents in its BME community