Having enjoyed Romeo and Juliet in May 2021, I returned to York Theatre Royal along with Mrs Hatter to see the Scottish play brought to life by The Handlebards, and on Burns Night no less…
Which witch is which?
It quickly became clear that this is more of the same farcical fun and fourth-wall breaking we’ve come to expect from the team. The all-female cast of three versatile performers switch effortlessly between costumes, roles and accents. A ramshackle frame creates an on-stage backstage area where hats and props fly in a whirlwind of quick changes. Credit too must go on the crew!
Kathryn Perkins takes on the title role of Macbeth, with Natalie Simone and Jenny Smith becoming a myriad of other characters big and small. Whether playing cackling witches, apparitions, nobility, the sultry Lady Macbeth or Macduff’s son (brilliantly done, I won’t spoil it) the transitions come thick and fast. It’s remarkable to think that the cast do so much with so little, and that it all has to pack down to be transported by neither vans nor lorries…
Bells and Whistles
The Handlebards, you see, travel around the country on – you guessed it – bicycles! The company take Shakespeare on the road and perform at festivals as well as theatres. This eco-approach is refreshing, and even the teatowels the cast sell at the end are ethically made.
The cycling theme continues into the show, with all manner of bicycle-based props. Handlebars (naturally), helmets, bells, pumps, reflectors, tyres…it’s fair to say The Handlebards are single-handedly keeping Halfords (or a locally-sourced alternative) in business!
The backdrops are cleverly changed by pedal-power too. Compared to big shows with luxurious backcloths and intricate moving set-pieces, the cast demonstrate here that sometimes less is more.
That’s a rap
Highlights for us included a witches rap, some daftly dramatic deaths and an unexpected reference to Roger Moore. The crown of reflectors was also inspired…on reflection!
Is it a family show? I think most children will struggle to follow the story as it is largely told in the original Shakespearean verse, however there’s a handy synopsis in the programme. I have to confess I lost the plot at points, but that was down to my own gaps in knowledge of the Bard’s work, and no reflection on the cast. As Mrs Hatter said, the storytelling is so visual that you don’t necessarily need to know the story to enjoy this loose retelling.
The theme of murder makes it one of the darker tales, but it’s performed here in such a silly and farcical way that it’s never scary. Farting deaths, interrupting instruments and random bursts of Riverdance keep the play playful! At points, the action borders on clowning and there are plenty of asides and nods to the audience.
Page to Stage
No doubt school children up and down the country still bemoan the fact that Shakespeare is taught in schools, but when it’s presented by The Handlebards you could never say it’s dry or boring. The cast bring the story to life with slick costume changes, physical comedy, live music and theatrical magic. Director Emma Sampson has developed a fast-paced, fun and energetic show with some delightfully wyrd (spelling intentional!) moments.
My only minor niggle is that at points I strained to hear, and was only sat on the second row of the Dress Circle. I think this is due to the absence of headset microphones – relying on floor mics instead (presumably as the show is so physical, with plenty of knockabout action and tumbles) Unavoidable perhaps, but some of the dialogue was lost.
In truth, I enjoyed Romeo and Juliet more, but I think this is largely because I’m more familiar with the original tale. Macbeth is still wheely good (sorry, not sorry!) and I can’t wait to see what The Handlebards do with Twelfth Night.
MAGIC RATING
VALUE FOR MONEY
OVERALL
The Handlebards are currently touring the UK. Tickets start at £15 and can be booked online at www.handlebards.com
Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.
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