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The following moved from Macbeth 24 January 2008:


Film versions

[edit]

Macbeth has been adapted to film and television numerous times.

Adaptations

[edit]

Literary versions

[edit]

Television versions (a selection)

[edit]

Musical adaptations

[edit]



Following copied from Macbeth 5 September 2010:

Performance history

[edit]

Shakespeare's day

[edit]

Apart from the one mentioned in the Forman document,[clarification needed] there are no performances known with certainty in Shakespeare's era. Because of its Scottish theme, the play is sometimes said to have been written for, and perhaps debuted for, King James; however, no external evidence supports this hypothesis.[citation needed] The play's brevity and certain aspects of its staging (for instance, the large proportion of night-time scenes and the unusually large number of off-stage sounds) have been taken as suggesting that the text now extant was revised for production indoors, perhaps at the Blackfriars Theatre, which the King's Men acquired in 1608.[citation needed]

Restoration and 18th century

[edit]

In the Restoration, Sir William Davenant produced a spectacular "operatic" adaptation of Macbeth, "with all the singing and dancing in it" and special effects like "flyings for the witches" (John Downes, Roscius Anglicanus, 1708). Davenant's revision also enhanced the role of Lady Macduff, making her a thematic foil to Lady Macbeth.[1] In an April 19, 1667, entry in his Diary, Samuel Pepys called Davenant's MacBeth "one of the best plays for a stage, and variety of dancing and music, that ever I saw."[1] The Davenant version held the stage until the middle of the next century.[citation needed] The famous Macbeths of the early 18th century, such as James Quin, employed this version.[citation needed]

Charles Macklin, not otherwise recalled as a great Macbeth, is remembered for performances at Covent Garden in 1773 at which riots broke out, related to Macklin's rivalries with Garrick and William Smith.[citation needed] Macklin performed in Scottish dress, reversing an earlier tendency to dress Macbeth as an English brigadier;[citation needed] he also removed Garrick's death speech and further trimmed Lady Macduff's role.[citation needed] The performance received generally respectful reviews, although George Steevens remarked on the inappropriateness of Macklin (then in his eighties) for the role.[citation needed]

After Garrick, the most celebrated Macbeth of the 18th century was John Philip Kemble;[citation needed] he performed the role most famously with his sister, Sarah Siddons, whose Lady Macbeth was widely regarded as unsurpassable.[citation needed] Kemble continued the trends toward realistic costume and to Shakespeare's language that had marked Macklin's production; Walter Scott reports that he experimented continually with the Scottish dress of the play.[citation needed] Response to Kemble's interpretation was divided; however, Siddons was unanimously praised. Her performance of the "sleepwalking" scene in the fifth act was especially noted; Leigh Hunt called it "sublime."[citation needed] The Kemble-Siddons performances were the first widely influential productions in which Lady Macbeth's villainy was presented as deeper and more powerful than Macbeth's. It was also the first in which Banquo's ghost did not appear on stage.[citation needed]

Kemble's Macbeth struck some critics as too mannered and polite for Shakespeare's text.[citation needed] His successor as the leading actor of London, Edmund Kean, was more often criticised for emotional excess, particularly in the fifth act.[citation needed] Kean's Macbeth was not universally admired; William Hazlitt, for instance, complained that Kean's Macbeth was too like his Richard III.[citation needed] As he did in other roles, Kean exploited his athleticism as a key component of Macbeth's mental collapse.[clarification needed][citation needed] He reversed Kemble's emphasis on Macbeth as noble, instead presenting him as a ruthless politician who collapses under the weight of guilt and fear.[citation needed] Kean, however, did nothing to halt the trend toward extravagance in scene and costume.[citation needed]

Nineteenth century

[edit]

The Macbeth of the next predominant London actor, William Charles Macready, provoked responses at least as mixed as those given Kean.[citation needed] Macready debuted in the role in 1820 at Covent Garden.[citation needed] As Hazlitt noted, Macready's reading of the character was purely psychological; the witches lost all supernatural power, and Macbeth's downfall arose purely from the conflicts in Macbeth's character.[citation needed] Macready's most famous Lady Macbeth was Helena Faucit, who debuted dismally in the role while still in her mid-20s, but who later achieved acclaim in the role for an interpretation that, unlike Siddons', given contemporary notions of female decorum.[clarification needed][citation needed] After Macready "retired" to America, he continued to perform in the role; in 1849, he was involved in a rivalry with American actor Edwin Forrest, whose partisans hissed Macready at Astor Place, leading to what is commonly called the Astor Place Riot.[citation needed]

The two most prominent Macbeths of mid-century, Samuel Phelps and Charles Kean, were both received with critical ambivalence and popular success.[citation needed] Both are famous less for their interpretation of character than for certain aspects of staging.[citation needed] At Sadler's Wells Theatre, Phelps brought back nearly all of Shakespeare's original text. He brought back the first half of the Porter scene, which had been ignored by directors since Davenant; the second remained cut because of its ribaldry.[citation needed] He abandoned the added music, and reduced the witches to their role in the folio. Just as significantly, he returned to the folio treatment of Macbeth's death.[2][citation needed] Not all of these decisions succeeded in the Victorian context, and Phelps experimented with various combinations of Shakespeare and Davenant in his more than a dozen productions between 1844 and 1861.[citation needed] His most successful Lady Macbeth was Isabella Glyn, whose commanding presence reminded some critics of Siddons.[citation needed]

The outstanding feature of Kean's productions at the Princess's Theatre after 1850 was their accuracy of costume.[citation needed] Kean achieved his greatest success in modern melodrama, and he was widely viewed as not prepossessing enough for the greatest Elizabethan roles.[citation needed] Audiences did not mind, however; one 1853 production ran for twenty weeks. Presumably part of the draw was Kean's famous attention to historical accuracy; in his productions, as Allardyce Nicoll notes, "even the botany was historically correct."[citation needed]

Henry Irving's first attempt at the role, at the Lyceum Theatre, London in 1875, was a failure. Under the production of Sidney Frances Bateman, and starring alongside Kate Josephine Bateman, Irving may have been affected by the recent death of his manager Hezekiah Linthicum Bateman.[citation needed] Although the production lasted eighty performances, his Macbeth was judged inferior to his Hamlet. His next essay, opposite Ellen Terry at the Lyceum in 1888, fared better, playing for 150 performances.[3][citation needed] At the urging of Herman Klein, Irving engaged Arthur Sullivan to write a suite of incidental music for the piece.[4] Friends such as Bram Stoker defended his "psychological" reading, based on the supposition that Macbeth had dreamed of killing Duncan before the start of the play.[citation needed] His detractors, among them Henry James, deplored his arbitrary word changes ("would have" for "should have" in the speech at Lady Macbeth's death) and his "neurasthenic" and "finicky" approach to the character.[5]

Twentieth century to present

[edit]

AJ Comments:

  • Section too long overall
  • Don't like the sources we have got towards the end
  • Recentism
  • Some things get far too little weight (Polanski not mentioned but Hugh Hefner is!!!)
  • Needs a separate section on film.

Barry Vincent Jackson staged an influential modern-dress production with the Birmingham Repertory in 1928; the production reached London, playing at the Royal Court Theatre. It received mixed reviews; Eric Maturin was judged an inadequate Macbeth, though Mary Merrall's vampish Lady was reviewed favourably. Though The Times judged it a "miserable failure," the production did much to overturn the tendency to scenic and antiquarian excess that had peaked with Charles Kean.[citation needed]

Among the most publicised productions of the 20th century was mounted by the Federal Theater Project at the Lafayette Theatre in Harlem from 14 April to 20 June 1936. Orson Welles, in his first stage production, directed Jack Carter and Edna Thomas, with Canada Lee playing Banquo, in an all African American production. It became known as the Voodoo Macbeth, because Welles set the play in post-colonial Haiti. His direction emphasised spectacle and suspense: his dozens of "African" drums recalled Davenant's chorus of witches.[citation needed] Welles later directed and played the starring role in a 1948 film adaption of the play.[citation needed]

Laurence Olivier played Malcolm in the 1929 production and Macbeth in 1937 at the Old Vic Theatre in a production that saw the Vic's artistic director Lilian Baylis pass away the night before it opened. Olivier's makeup was so thick and stylised for that production that Vivien Leigh was quoted as saying "You hear Macbeth's first line, then Larry's makeup comes on, then Banquo comes on, then Larry comes on".[6] Olivier later starred in what is among the most famous 20th-century productions, by Glen Byam Shaw at Stratford-upon-Avon in 1955.[citation needed] Vivien Leigh played Lady Macbeth. The supporting cast, which Harold Hobson denigrated,[clarification needed] included many actors who went on to successful Shakespearean careers: Ian Holm played Donalbain, Keith Michell was Macduff, and Patrick Wymark the Porter.[citation needed] Olivier was the key to success.[citation needed] The intensity of his performance, particularly in the conversation with the murderers and in confronting Banquo's ghost, seemed to many reviewers to recall Edmund Kean.[citation needed] Plans for a film version faltered after the box-office failure of Olivier's Richard III.[citation needed] Kenneth Tynan asserted flatly of this performance that "no one has ever succeeded as Macbeth"—until Olivier.[citation needed]

Olivier's co-star in his 1937 Old Vic Theatre production, Judith Anderson, had an equally triumphant association with the play.[citation needed] She played Lady Macbeth on Broadway opposite Maurice Evans in a production directed by Margaret Webster that ran for 131 performances in 1941, the longest run of the play in Broadway history.[citation needed] Anderson and Evans performed the play on television twice, in 1954 and 1962, with Maurice Evans winning an Emmy Award the 1962 production and Anderson winning the award for both presentations.[citation needed] A film adaptation in 1971 titled The Tragedy of Macbeth was executive produced by Hugh Hefner.[citation needed]

A Japanese film adaptation, Throne of Blood (Kumonosu jô, 1957), features Toshirô Mifune in the lead role and is set in feudal Japan. It was well-received and, despite having almost none of the play's script, critic Harold Bloom called it "the most successful film version of Macbeth."[7][citation needed]

One of the most notable 20th-century productions is that of Trevor Nunn for the Royal Shakespeare Company in 1976.[citation needed] Nunn had directed Nicol Williamson and Helen Mirren in the play two years earlier, but that production had largely failed to impress.[citation needed] In 1976, Nunn produced the play with a minimalist set at The Other Place; this small, nearly round stage focused attention on the psychological dynamics of the characters.[citation needed] Both Ian McKellen in the title role and Judi Dench as Lady Macbeth received exceptionally favourable reviews.[citation needed] Dench won the 1977 SWET Best Actress award for her performance and in 2004, members of the RSC voted her performance the greatest by an actress in the history of the company.[citation needed]

Nunn's production transferred to London in 1977 and was later filmed for television.[citation needed] It was to overshadow Peter Hall's 1978 production with Albert Finney as Macbeth and Dorothy Tutin as Lady Macbeth.[citation needed] But the most infamous recent Macbeth was staged at the Old Vic in 1980. Peter O'Toole and Frances Tomelty took the leads in a production (by Bryan Forbes) that was publicly disowned by Timothy West, artistic director of the theatre, before opening night, despite being a sellout because of its notoriety.[clarification needed][citation needed] As critic Jack Tinker noted in the Daily Mail: "The performance is not so much downright bad as heroically ludicrous."[8]

On the stage, Lady Macbeth is considered one of the more "commanding and challenging" roles in Shakespeare's work.[9] Other actresses who have played the role include Gwen Ffrangcon-Davies, Glenda Jackson, and Jane Lapotaire.

A performance was staged in the real Macbeth's home of Moray, produced by the National Theatre of Scotland, to take place at Elgin Cathedral. Professional actors, dancers, musicians, school children, and a community cast from the Moray area all took part in what was an important event in the Highland Year of Culture (2007).

In the same year there was general consent among critics that Rupert Goold's production for the Chichester Festival 2007, starring Patrick Stewart and Kate Fleetwood, rivalled Trevor Nunn's acclaimed 1976 RSC production. And when it transferred to the Gielgud Theatre in London, Charles Spencer reviewing for the Daily Telegraph pronounced it the best Macbeth he had ever seen.[10] At the Evening Standard Theatre Awards 2007 the production won both the Best Actor award for Stewart, and the Best Director award for Goold.[11] The same production opened in the US at the Brooklyn Academy of Music in 2008, moving to Broadway (Lyceum Theatre) after a sold-out run.

In 2003, the British theater company Punchdrunk used The Beaufoy Building in London, an old Victorian school to stage "Sleep No More", the story of Macbeth in the style of a Hitchcock thriller, using reworked music from the soundtrack of classic Hitchcock films.[12] Punchdrunk re-mounted the production, in a newly expanded version, at an abandoned school in Brookline, Massachusetts in October 2009 in association with the American Repertory Theatre.[13]

In 2004, Indian Director Vishal Bharadwaj directed his own adaptation to Macbeth, titled Maqbool. Set in the contemporary Mumbai underworld, the movie starred Irrfan Khan, Tabu, Pankaj Kapur, Om Puri, Naseeruddin Shah and Piyush Mishra in prominent roles.[clarification needed] The movie was highly acclaimed and brought fame to director Vishal Bharadwaj and to Irrfan Khan.[citation needed]

In 2006, Harper Collins published the book Macbeath and Son by the Australian author Jackie French. In 2008, Pegasus Books published The Tragedy of Macbeth Part II: The Seed of Banquo, a play by American author and playwright Noah Lukeman which endeavored to pick up where the original Macbeth left off, and to resolve its many loose ends. David Greig's 2010 play Dunsinane also took Macbeth's downfall at Dunsinane as its starting point, with Macbeth's just-ended reign portrayed as long and stable in contrast to Malcolm's.[citation needed]

Following moved from Macbeth 5 August 2011:

Shakespeare's day

[edit]

Apart from the one mentioned in the Forman document, there are no performances known with certainty in Shakespeare's era. Because of its Scottish theme, the play is sometimes said to have been written for, and perhaps debuted for, King James; however, no external evidence supports this hypothesis. The play's brevity and certain aspects of its staging (for instance, the large proportion of night-time scenes and the unusually large number of off-stage sounds) have been taken as suggesting that the text now extant was revised for production indoors, perhaps at the Blackfriars Theatre, which the King's Men acquired in 1608.[14]

Restoration and 18th century

[edit]

In the Restoration, Sir William Davenant produced a spectacular "operatic" adaptation of Macbeth, "with all the singing and dancing in it" and special effects like "flyings for the witches" (John Downes, Roscius Anglicanus, 1708). Davenant's revision also enhanced the role of Lady Macduff, making her a thematic foil to Lady Macbeth.[1] In an April 19, 1667, entry in his Diary, Samuel Pepys called Davenant's MacBeth "one of the best plays for a stage, and variety of dancing and music, that ever I saw."[1] The Davenant version held the stage until the middle of the next century. The famous Macbeths of the early 18th century, such as James Quin, employed this version.

Charles Macklin, not otherwise recalled as a great Macbeth, is remembered for performances at Covent Garden in 1773 at which riots broke out, related to Macklin's rivalries with Garrick and William Smith. Macklin performed in Scottish dress, reversing an earlier tendency to dress Macbeth as an English brigadier; he also removed Garrick's death speech and further trimmed Lady Macduff's role. The performance received generally respectful reviews, although George Steevens remarked on the inappropriateness of Macklin (then in his eighties) for the role.

After Garrick, the most celebrated Macbeth of the 18th century was John Philip Kemble; he performed the role most famously with his sister, Sarah Siddons, whose Lady Macbeth was widely regarded as unsurpassable. Kemble continued the trends toward realistic costume and to Shakespeare's language that had marked Macklin's production; Walter Scott reports that he experimented continually with the Scottish dress of the play. Response to Kemble's interpretation was divided; however, Siddons was unanimously praised. Her performance of the "sleepwalking" scene in the fifth act was especially noted; Leigh Hunt called it "sublime." The Kemble-Siddons performances were the first widely influential productions in which Lady Macbeth's villainy was presented as deeper and more powerful than Macbeth's. It was also the first in which Banquo's ghost did not appear on stage.

Kemble's Macbeth struck some critics as too mannered and polite for Shakespeare's text. His successor as the leading actor of London, Edmund Kean, was more often criticised for emotional excess, particularly in the fifth act. Kean's Macbeth was not universally admired; William Hazlitt, for instance, complained that Kean's Macbeth was too like his Richard III. As he did in other roles, Kean exploited his athleticism as a key component of Macbeth's mental collapse. He reversed Kemble's emphasis on Macbeth as noble, instead presenting him as a ruthless politician who collapses under the weight of guilt and fear. Kean, however, did nothing to halt the trend toward extravagance in scene and costume.

Nineteenth century

[edit]

The Macbeth of the next predominant London actor, William Charles Macready, provoked responses at least as mixed as those given Kean. Macready debuted in the role in 1820 at Covent Garden. As Hazlitt noted, Macready's reading of the character was purely psychological; the witches lost all supernatural power, and Macbeth's downfall arose purely from the conflicts in Macbeth's character. Macready's most famous Lady Macbeth was Helena Faucit, who debuted dismally in the role while still in her mid-20s, but who later achieved acclaim in the role for an interpretation that, unlike Siddons', accorded with contemporary notions of female decorum. After Macready "retired" to America, he continued to perform in the role; in 1849, he was involved in a rivalry with American actor Edwin Forrest, whose partisans hissed Macready at Astor Place, leading to what is commonly called the Astor Place Riot.

Charles Kean and his wife as Macbeth and Lady Macbeth, in costumes aiming to be historically accurate (1858)

The two most prominent Macbeths of mid-century, Samuel Phelps and Charles Kean, were both received with critical ambivalence and popular success. Both are famous less for their interpretation of character than for certain aspects of staging. At Sadler's Wells Theatre, Phelps brought back nearly all of Shakespeare's original text. He brought back the first half of the Porter scene, which had been ignored by directors since Davenant; the second remained cut because of its ribaldry. He abandoned the added music, and reduced the witches to their role in the folio. Just as significantly, he returned to the folio treatment of Macbeth's death.[15] Not all of these decisions succeeded in the Victorian context, and Phelps experimented with various combinations of Shakespeare and Davenant in his more than a dozen productions between 1844 and 1861. His most successful Lady Macbeth was Isabella Glyn, whose commanding presence reminded some critics of Siddons.

The outstanding feature of Kean's productions at the Princess's Theatre after 1850 was their accuracy of costume. Kean achieved his greatest success in modern melodrama, and he was widely viewed as not prepossessing enough for the greatest Elizabethan roles. Audiences did not mind, however; one 1853 production ran for twenty weeks. Presumably part of the draw was Kean's famous attention to historical accuracy; in his productions, as Allardyce Nicoll notes, "even the botany was historically correct."

Henry Irving's first attempt at the role, at the Lyceum Theatre, London in 1875, was a failure. Under the production of Sidney Frances Bateman, and starring alongside Kate Josephine Bateman, Irving may have been affected by the recent death of his manager Hezekiah Linthicum Bateman. Although the production lasted eighty performances, his Macbeth was judged inferior to his Hamlet. His next essay, opposite Ellen Terry at the Lyceum in 1888, fared better, playing for 150 performances.[16] At the urging of Herman Klein, Irving engaged Arthur Sullivan to write a suite of incidental music for the piece.[17] Friends such as Bram Stoker defended his "psychological" reading, based on the supposition that Macbeth had dreamed of killing Duncan before the start of the play. His detractors, among them Henry James, deplored his arbitrary word changes ("would have" for "should have" in the speech at Lady Macbeth's death) and his "neurasthenic" and "finicky" approach to the character.[18]

Twentieth century to present

[edit]

Barry Vincent Jackson staged an influential modern-dress production with the Birmingham Repertory in 1928; the production reached London, playing at the Royal Court Theatre. It received mixed reviews; Eric Maturin was judged an inadequate Macbeth, though Mary Merrall's vampish Lady was reviewed favourably. Though The Times judged it a "miserable failure," the production did much to overturn the tendency to scenic and antiquarian excess that had peaked with Charles Kean.

The Federal Theatre Project Negro Unit's production of Macbeth, 1935

Among the most publicised productions of the 20th century was mounted by the Federal Theater Project at the Lafayette Theatre in Harlem from 14 April to 20 June 1936. Orson Welles, in his first stage production, directed Jack Carter and Edna Thomas, with Canada Lee playing Banquo, in an all African American production. It became known as the Voodoo Macbeth, because Welles set the play in post-colonial Haiti. His direction emphasised spectacle and suspense: his dozens of "African" drums recalled Davenant's chorus of witches. Welles later directed and played the starring role in a 1948 film adaptation of the play.

Laurence Olivier played Malcolm in the 1929 production and Macbeth in 1937 at the Old Vic Theatre in a production that saw the Vic's artistic director Lilian Baylis pass away the night before it opened. Olivier's makeup was so thick and stylised for that production that Vivien Leigh was quoted as saying "You hear Macbeth's first line, then Larry's makeup comes on, then Banquo comes on, then Larry comes on".[19] Olivier later starred in what is among the most famous 20th-century productions, by Glen Byam Shaw at Stratford-upon-Avon in 1955. Vivien Leigh played Lady Macbeth. The supporting cast, which Harold Hobson denigrated, included many actors who went on to successful Shakespearean careers: Ian Holm played Donalbain, Keith Michell was Macduff, and Patrick Wymark the Porter. Olivier was the key to success. The intensity of his performance, particularly in the conversation with the murderers and in confronting Banquo's ghost, seemed to many reviewers to recall Edmund Kean. Plans for a film version faltered after the box-office failure of Olivier's Richard III. Kenneth Tynan asserted flatly of this performance that "no one has ever succeeded as Macbeth"—until Olivier.

Olivier's co-star in his 1937 Old Vic Theatre production, Judith Anderson, had an equally triumphant association with the play. She played Lady Macbeth on Broadway opposite Maurice Evans in a production directed by Margaret Webster that ran for 131 performances in 1941, the longest run of the play in Broadway history. Anderson and Evans performed the play on television twice, in 1954 and 1962, with Maurice Evans winning an Emmy Award the 1962 production and Anderson winning the award for both presentations. A film adaptation in 1971 titled The Tragedy of Macbeth was directed by Roman Polanski and executive-produced by Hugh Hefner.

A Japanese film adaptation, Throne of Blood (Kumonosu jô, 1957), features Toshirô Mifune in the lead role and is set in feudal Japan. It was well-received and, despite having almost none of the play's script, critic Harold Bloom called it "the most successful film version of Macbeth."[7]

One of the most notable 20th-century productions is that of Trevor Nunn for the Royal Shakespeare Company in 1976. Nunn had directed Nicol Williamson and Helen Mirren in the play two years earlier, but that production had largely failed to impress. In 1976, Nunn produced the play with a minimalist set at The Other Place; this small, nearly round stage focused attention on the psychological dynamics of the characters. Both Ian McKellen in the title role and Judi Dench as Lady Macbeth received exceptionally favourable reviews. Dench won the 1977 SWET Best Actress award for her performance and in 2004, members of the RSC voted her performance the greatest by an actress in the history of the company.

Nunn's production transferred to London in 1977 and was later filmed for television. It was to overshadow Peter Hall's 1978 production with Albert Finney as Macbeth and Dorothy Tutin as Lady Macbeth. But the most infamous recent Macbeth was staged at the Old Vic in 1980. Peter O'Toole and Frances Tomelty took the leads in a production (by Bryan Forbes) that was publicly disowned by Timothy West, artistic director of the theatre, before opening night, despite being a sellout because of its notoriety. As critic Jack Tinker noted in the Daily Mail: "The performance is not so much downright bad as heroically ludicrous."[20]

On the stage, Lady Macbeth is considered one of the more "commanding and challenging" roles in Shakespeare's work.[21] Other actresses who have played the role include Gwen Ffrangcon-Davies, Janet Suzman, Glenda Jackson, and Jane Lapotaire.

In 2001 the film Scotland, PA was released. The action is moved to 1970's Pennsylvania and revolves around Joe Macbeth and his wife Pat taking control of a hamburger cafe from Norm Duncan. The film was directed by Billy Morrissette and stars James LeGros, Maura Tierney and Christopher Walken.

A performance was staged in the real Macbeth's home of Moray, produced by the National Theatre of Scotland, to take place at Elgin Cathedral. Professional actors, dancers, musicians, school children, and a community cast from the Moray area all took part in what was an important event in the Highland Year of Culture (2007).

In the same year there was general consent among critics that Rupert Goold's production for the Chichester Festival 2007, starring Patrick Stewart and Kate Fleetwood, rivalled Trevor Nunn's acclaimed 1976 RSC production. And when it transferred to the Gielgud Theatre in London, Charles Spencer reviewing for the Daily Telegraph pronounced it the best Macbeth he had ever seen.[10] At the Evening Standard Theatre Awards 2007 the production won both the Best Actor award for Stewart, and the Best Director award for Goold.[22] The same production opened in the US at the Brooklyn Academy of Music in 2008, moving to Broadway (Lyceum Theatre) after a sold-out run. In 2009 Goold again directed Stewart and Fleetwood in an acclaimed film version of their production, which aired as part of PBS' Great Performances series on October 6, 2010.

In 2003, the British theatre company Punchdrunk used The Beaufoy Building in London, an old Victorian school to stage "Sleep No More", the story of Macbeth in the style of a Hitchcock thriller, using reworked music from the soundtrack of classic Hitchcock films.[23] Punchdrunk re-mounted the production, in a newly expanded version, at an abandoned school in Brookline, Massachusetts in October 2009 in association with the American Repertory Theatre.[24]

In 2004, Indian director Vishal Bharadwaj directed his own adaptation to Macbeth, titled Maqbool. Set in the contemporary Mumbai underworld, the movie starred Irrfan Khan, Tabu, Pankaj Kapur, Om Puri, Naseeruddin Shah and Piyush Mishra in prominent roles. The movie was highly acclaimed and brought fame to director Bharadwaj and to Irrfan Khan.[citation needed]

Sequels by other authors

[edit]

In 2006, Harper Collins published the book Macbeth and Son by the Australian author Jackie French. In 2008, Pegasus Books published The Tragedy of Macbeth Part II: The Seed of Banquo, a play by American author and playwright Noah Lukeman which endeavored to pick up where the original Macbeth left off, and to resolve its many loose ends.

David Greig's 2010 play Dunsinane took Macbeth's downfall at Dunsinane as its starting point, with Macbeth's just-ended reign portrayed as long and stable in contrast to Malcolm's.[citation needed]


Note, following section should stay here permanently, (even if empty!)

References

[edit]
  1. ^ a b c d Sylvan Barnet, "Macbeth on Stage and Screen," in Macbeth, ed. Sylvan Barnet, A Signet Classic, 1998, p. 188. Cite error: The named reference "Barnet" was defined multiple times with different content (see the help page).
  2. ^ Odell, George Clinton Densmore (1921). Shakespeare from Betterton to Irving. 274. Vol. 2. C. Scribner's sons. Retrieved 2009-08-17.
  3. ^ "Henry Irving as Macbeth" Archived 2008-12-06 at the Wayback Machine, PeoplePlay UK website.
  4. ^ Information about Sullivan's incidental music to Macbeth in 1888, The Gilbert and Sullivan Archive.
  5. ^ Odell, George Clinton Densmore (1921). Shakespeare from Betterton to Irving. 384. Vol. 2. C. Scribner's sons. Retrieved 2009-08-17.
  6. ^ Robert Tanitch, Olivier, Abbeville Press (1985).
  7. ^ a b Harold Bloom, Shakespeare: The Invention of the Human. New York: 1999. ISBN 1-57322-751-X, p. 519.
  8. ^ London Stage in the 20th Century by Robert Tanitch, Haus Publishing (2007) ISBN 978-1-904950-74-5.
  9. ^ Brown, Langdon. Shakespeare around the Globe: A Guide to Notable Postwar Revivals. New York: Greenwood Press, 1986: 355.
  10. ^ a b Spencer, Charles (September 27, 2007). "The best Macbeth I have seen". The Daily Telegraph. Retrieved 2009-10-23. Cite error: The named reference "telegraph" was defined multiple times with different content (see the help page).
  11. ^ "Winning performances on the West End stage | News". Thisislondon.co.uk. Archived from the original on 2007-12-30. Retrieved 2009-11-01.
  12. ^ "Punchdrunk website – Sleep No More". punchdrunk. Archived from the original on 2010-07-04. Retrieved 2009-05-16.
  13. ^ "ART website – Sleep No More". ART. Retrieved 2009-12-20.
  14. ^ For the date of acquisition, see, for instance, Adams, J. Q., Shakespearean Playhouses, Boston: Houghton Mifflin, 1917: 224; Bentley, G. E. The Jacobean and Caroline Stage, Oxford: Clarendon Press, 1941: 6.13–17; Chambers, E. K., The Elizabethan Stage, Oxford: Clarendon Press, 1923: 2.498. For Macbeth as an indoor play, see, for instance Bald, R.C., "Macbeth and the Short Plays," Review of English Studies 4 (1928): 430; Shirley, Frances, Shakespeare's Use of Off-stage Sounds, Lincoln: University of Nebraska Press, 1963: 168–89.
  15. ^ Odell, George Clinton Densmore (1921). Shakespeare from Betterton to Irving. 274. Vol. 2. C. Scribner's sons. Retrieved 2009-08-17.
  16. ^ "Henry Irving as Macbeth" Archived 2008-12-06 at the Wayback Machine, PeoplePlay UK website.
  17. ^ Information about Sullivan's incidental music to Macbeth in 1888, The Gilbert and Sullivan Archive.
  18. ^ Odell, George Clinton Densmore (1921). Shakespeare from Betterton to Irving. 384. Vol. 2. C. Scribner's sons. Retrieved 2009-08-17.
  19. ^ Robert Tanitch, Olivier, Abbeville Press (1985).
  20. ^ London Stage in the 20th Century by Robert Tanitch, Haus Publishing (2007) ISBN 978-1-904950-74-5.
  21. ^ Brown, Langdon. Shakespeare around the Globe: A Guide to Notable Postwar Revivals. New York: Greenwood Press, 1986: 355.
  22. ^ "Winning performances on the West End stage | News". Thisislondon.co.uk. Archived from the original on 2007-12-30. Retrieved 2009-11-01.
  23. ^ "Punchdrunk website – Sleep No More". punchdrunk. Archived from the original on 2010-07-04. Retrieved 2009-05-16.
  24. ^ "ART website – Sleep No More". ART. Retrieved 2009-12-20.