This production of Macbeth from 1983 was part of the BBC’s considerable effort to commit all of William Shakespeare’s plays to film as close to genuine stage experiences as is possible. In this example of the guilt ridden usurper of the Scottish crown, the BBC has assembled an experienced cast capable of delivering a script faithful to the original. It is a simple, brilliantly acted interpretation of the Bard’s bloody masterpiece. Though not a big budget effort, it is an excellent archive recorded in deference to Shakespeare’s preferred medium: the stage.

The Thane of Glamis is slow to stir after a prophetic encounter with three witches amidst the gloom of a battlefield upon which our central character has led King Duncan’s armies to a great victory. The vile, supernatural hags have foreseen his ascension to the throne, setting in motion the reluctant Thane’s insane clutch for power. Left to his own devices, the seduction of power withered quickly in the loyal warrior’s heart but in this foul natured business he is not alone. Upon hearing of the hags’ black magic, the Lady Macbeth (Jane Lapotaire) recognises an opportunity and demands treason to satisfy a spontaneous desire to be a young and beautiful queen. Her husband’s sense of loyalty is tested by the sudden understanding that he will be king yet any notion of a patient and faithful ascendency are snuffed out by the weight of Lady Macbeth’s ambition.

Though his wife quickly nurtures the seed of regicide into rampant bloom, the seed of doubt stays rooted in Macbeth. We see him driven not by his destiny but by the knowledge of it, where his wife is overwhelmed by instant, naked ambition. The emotion in the faces of the players betrays the true nature of their purpose in a superb display of the thespian art. Nicol Williamson (Excalibur) plays the tragic hero and his interpretation of the Scottish usurper is spellbinding; pardon the pun. I have seen several notable Macbeth’s on stage and screen and none have gone so far into the madness of a good and loyal warrior twisted by the virulent guilt of an ill-considered act. This is madness, not melodrama as man and wife take it in turns to be the strong and calming influence as the other flickers towards insanity. The frenzied chemistry between Williamson and Lapotaire is an inspired pairing.

As one would expect of Shakespearian tragedy, there are complications to the bloody natured schemes of tyrants and madmen. Banquo, the new King’s old friend was also there on the battlefield to hear the three witches ordain him ‘father of Kings’ when Macbeth would beget none. Slaying the king is only the beginning, as threats such as Banquo surround the paranoid monarch. Predictably, the bloody reputation of the murderous king is founded on the violent path down which he now tumbles unprepared.

The intense drama is played out on very basic sets and there are no location shots. The emphasis is on the performers in a deliberate strategy to recreate authentic stage conditions. The actors respond and the theatrical setting takes us away not to the Scottish lowlands but to a stage and the true realm of Shakespeare. I reflected on Polanski’s version (1971) and its use of visual manifestations of the tormenting delusions inside Macbeth’s head: the dagger, the bloody infant. In this BBC presentation, Williamson reminds us that these are not supernatural apparitions, they are his ghosts alone and we are not meant to see them. In fact, his coursing fear is a lonely and inexplicable emotion for those present to witness the king go totally nuts and back again. So rapid is the switch at times as to be embarrassingly funny to the detached audience, akin to a Shakespearian Basil Fawlty. Yet this a very serious work, carried along at a feverish pace resembling the ever increasing intensity of a guilt ridden murderer and his crazed Queen.

The picture quality is as good as you would expect from a BBC sound stage production of the mid 80’s. It would benefit from a widescreen presentation to get the audience closer but the 4:3 format is sufficient and suits the stage confines. The only discernable irritation in the picture comes from the props, as I noticed the medieval torches flame up too bright and cause a slight glaring effect. For the remainder, the lighting can set dark rooms and evil night but captures all the facial tortures of the cast, leaving atmosphere to be set by the talented troupe who are all experienced RSC players.

The mono soundtrack can be a little hollow at times but is clear enough to do justice to the intense peaks of delivery prevalent in Shakespeare’s work. I was disappointed that there were no extras as I had hoped something might accompany the play, such as a select documentary to companion the entire series.

Little needs to be said of the quality of Macbeth as a story. It is one of the Bard’s bloodiest and best, teeming with those powerful quotes that anyone would recognise from popular use. It is the script and performance of it that defines this dvd and in these terms it excels. Special effects and choreographed location sequences would have detracted from the principal intention; a gripping interpretation played out on a simple set. If you are a fan of Shakespeare or the theatre in general, this would be a great addition to the collection. Worthy of a standing ovation. Bravo!