My Experience taking Part in BAR MACBETH - A Bryan Muscat Production

Ironically enough, when Christmas is a season to be jolly, Bar Macbeth was performed days before Christmas making it an even more cold-blooded situation. Bar Macbeth didn’t tell the tale of Dunsinane of a far away land but of a street round the corner from MITP. One could actually waive the hanging posters depicting the street and think of the narrow street they might have walked through just a couple of minutes before.

Many commented on the absurd idea of taking Macbeth from the original context and setting it in Strait Street: why not? Strait Street is a symbol of lust, and Macbeth is too: the lust for ambition. The key themes were undoubtly kept: Ambition and Deception.

My experience within the character was a different one from the other characters I have performed. It was my first production with the adults so I could feel the step there. Since my role was a minor one with only 6 lines to say, the quality not quantity saying came into practice. I had more time to think on what to do, hear, think, smell, feel, and see and all the things which concerned all my senses and my inner thoughts.

My Relationship with Daphne (Aveline) was very affectionate; she was a loving mother which complemented with Aveline’s tender voice, which helped me a lot and which I could get accustomed to on and on during rehearsals and backstage. My contact with Daphne was very short, I would just hug her saying good-bye and unknowingly see her kiss my father for the last time. Thinking about it, that scene was very much of a farewell then a simple goodbye, very touching.

Conversely with my father, Banquo, it wasn’t that of an affectionate relationship but it was a friendly but respectful one were I could speak freely with him; it was very much Neville only a bit more strict, which did it all because I found it difficult to get accustomed to the hassle-free Neville when filming the parody. Again I could get accustomed to Banquo through Neville, by speaking to him and getting used to his height, his walk and his rhythm of speech; he seemed to have been doing the same thing with me because I could feel his reactions where more paternal than friendly during rehearsals.

Then I interacted with Don Siward and his Gang. It was a very formal but warm relationship with the whole lot. Don Siward was like a godfather to me only being more aloof than loving being the Don he was. The others acted along, they just cared about protecting Don Siward not me; the fact that they reached for their guns when I whispered to Don Siward, showed how emotionless they were towards me.

Charles grew up fast after they murdered his father but when he came to deliver the black news of the massacre of Macduff’s family, Charles relived his father’s murder; On his arrival at Don Siward’s, Macduff was present and was ironically happy to see Charles. The question Macduff asks Charles was the last thing Charles was expecting: “OK?” How could Charles be OK? With the most hypocritical way and with immense reluctance, Charles nodded.

To my disappointment, this year I could not get the vibe of the performance as part of the audience but as Charles, the Son of Banquo and Daphne. It was a very different feeling because concentrating on my role I missed the brilliance and prestige of the production we were taking part in.

One thing I miss in Bryan’s productions is his idea of using the least number of props. This year we used a large number of props which were useful in the context. To many people especially the audience, referred to MITP as shabby and maybe a disgusting theatre, but for me MITP is that open space which really inspires me and really helps me to think because it’s empty and dark.

Bar Macbeth reassured me about everything I believed about Lemonhead and with all the pleasure I will wait for the next production which shall challenge our minds and souls into trance realities.