Shakespeare’s Macbeth is an enduring classic for a reason. It has the boisterous energy of a thriller, charged chemistry befitting any modern-day drama and is intellectually no less than a masterful dissection of the complexity of human behaviour and the limits of morality. It is no wonder that Giuseppe Verdi was possessed with an obsession with the Scottish Bard, noted by the West Australian Symphony Orchestra (WASO) conductor Brad Cohen as a composer with a ‘keen grasp of both situation and character’. Masterfully commanding the array of haunting motifs, soaring virtuosic arias and awe-commanding ensemble pieces breathing magnificent life into Macbeth last night was the magnificent West Australian Opera, accompanied by the ever fantastic-WASO. The result was a haunting musical portrait of ambition-driven insanity.

The opera opens with an entire female chorus of witches embodying the role of the usual three in the play, making the witches seem somewhat less human than they are often portrayed in theatre productions. This is at once terrifying, but brings about a supernatural, ominous air to the fateful prophecies that underpin the progression of the opera.

James Clayton and Antoinette Halloran shine in the sexually charged lead roles of Macbeth and Lady Macbeth respectively. Director Stuart Maundar’s choice in amplifying the life force that Lady Macbeth provides to her husbands’ fateful actions so visually makes for magnetic viewing. Subtle touches such as the resting of a casually held crown above Lady Macbeth’s head to symbolise the power she brandishes really make this production; this is a vision of simultaneous simplicity and detail.

The notoriously difficult role of Lady Macbeth is tackled with sensual vigour by Halloran, who commands the music entirely both vocally and theatrically. Much the same can be said of Clayton, who really brings out the intensity of the internal dilemma the eponymous character goes through. Jud Arthur was a favourite of mine as Banquo (I later learned that Arthur has an impressive list of talents, with a previous stint of professional rugby and, believe it or not, show jumping on his CV), and Paul O’Neill and Matthew Lester were commanding as Macduff and Malcolm respectively.

The staging and costumes are gorgeous, as expected from my chat with Tony-award winning Roger Kirk previously. The set design, with a stage tilted upwards away from the audience created fantastic depth visually, and the row-set columns are incredibly effective in bringing versatility yet undeniable rugged character to the production. The costuming is simplistic yet sharp and effective; I particularly loved the black, almost punk, Berlin-esque ensemble ‘guest’ costumes with a touch of tartan. It’s traditional with edge, and I loved it.

WASO were extraordinary as always, never stealing the thunder, and very rarely leaving a note out of place. Stuart Maundar had an immense role in musically directing such a multifaceted production, and he certainly delivered.

WAO’s Macbeth is a sumptuous production for the senses. The modern edge visually contrasts markedly with the near-timeless score, giving it a transcendent effect befitting a play simultaneously about the other-worldly and the closest of homes to all of us—the human heart. A virtuosic and visceral treat not to be missed.

Macbeth plays until October 26, tickets HERE.