{"id":38995,"date":"2021-11-05T16:48:09","date_gmt":"2021-11-05T16:48:09","guid":{"rendered":"https:\/\/graziamagazine.com\/us\/?post_type=articles&p=38995"},"modified":"2021-11-05T16:50:13","modified_gmt":"2021-11-05T16:50:13","slug":"london-calling-frances-mcdormand-saoirse-ronan-alfie-enoch-cush-jumbo-and-william-shakespeare","status":"publish","type":"articles","link":"https:\/\/graziamagazine.com\/us\/articles\/london-calling-frances-mcdormand-saoirse-ronan-alfie-enoch-cush-jumbo-and-william-shakespeare\/","title":{"rendered":"London Calling"},"content":{"rendered":"
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Photo Credit: Courtesy of Almeida Theatre<\/figcaption><\/figure>\n

\u201cOne of the first times we met Denzel, Denzel said to Joel, \u2018What about the black and the white of the thing, Joel?\u2019” Frances McDormand told the audience before the European premiere of The Tragedy of Macbeth, <\/em>directed by Joel Coen and starring McDormand as Lady Macbeth and Denzel Washington as the title character, at the final night gala screening of the London Film Festival, an audience that included Bridgerton<\/em>\u2019s dashing Reg\u00e9-Jean Page wearing a black velvet tux and Tobias Menzies who played Prince Philip to Olivia Colman\u2019s Queen Elizabeth in The Crown<\/em>.\u00a0 Colman, in fact, was brilliant and troubling and oddly, movingly menacing in a film I\u2019d seen earlier at the festival, The Lost Daughter<\/em>, directed by Maggie Gyllenhaal.\u00a0 Colman, come to think of it, is kind of the British version of McDormand, both women down-to-earth divas who stop just short of earthy since they are also both smart enough to know that Anna Magnani retired that description long ago even though I\u2019d certainly put them in the same category as the late Italian star.<\/p>\n

McDormand had just made a loping slightly Groucho Marx-like entrance onto the stage at Royal Festival Hall, literally leaning-into the applause as a way of both acknowledging the roar coming her way while seeming to duck it at the very same time, a neat trick that fame has taught her to master.\u00a0 She just doesn\u2019t seem to know how to deal with adulation, or – wait, I\u2019m wrong –\u00a0 more aptly she does.\u00a0 It is we who don\u2019t know how to deal with her, yes, down-t0-earth way of doing it as she, who gets to the core of all her characters by protecting her own in public contexts, even gets to the complicated core of dealing with being adored by refusing to adorn it with anything other than what it is: a way that others find to express gratitude for the work she does.\u00a0 It\u2019s not about her; it\u2019s about the work.\u00a0 She\u2019s just the conduit who has to find a way to take credit for it.\u00a0 It is almost a blue-collar way of navigating the hoity-toity tarrying about that comes around after the work is finished.\u00a0 She might revel in Shakespeare –\u00a0 indeed, I saw her play the role of Lady Macbeth onstage a few years ago at Berkley Rep – but she has always been a bit of a Brechtian sort. Nothing prissy about her or her art.\u00a0 No preening allowed.\u00a0 She has landed in a better neighborhood where privacy has become her greatest privilege, but she will always have proletarian roots that anchor her in her down-to-earth divahood.\u00a0 She probably even hates being designated a diva.\u00a0 But there is no denying that there is something diva-like – incongruously so – in her utter refusal to traipse around in the trappings of being one.\u00a0 It is, I think, the embodying of incongruity that emboldens her. It is at the core – that word again – of her greatness as an actress, this American woman who can duck onto a Royal stage in London with such incongruous grace and bring to mind both Groucho and Karl Marx while doing it for I\u2019m not sure any other actress could inspire me to use the term \u201cproletariat.\u201d\u00a0 Unlike her, I\u2019m a bit too prissy for that.\u00a0 But it speaks to her everlasting, blasted allure that she can blast away the prissiness of others with the pure force of her art.\u00a0\u00a0 It is a gift we never knew we longed to receive – which is how I feel so often when I experience her work and the innate sense of no-nonsense wonder embedded within it.\u00a0\u00a0 Again: the work.\u00a0 Let\u2019s return to her talking about it.<\/p>\n

\u201cJoel said to Denzel, \u2018Yeah, we\u2019re going to shoot it in black and white,\u201d McDormand continued from the stage.\u00a0\u00a0 \u201c\u2018And I said, \u2018Denzel, I know that\u2019s not what you meant, but that\u2019s his answer and that\u2019s as far as he\u2019s going to go.\u2019\u201d The audience laughed and then applauded, slightly missing McDormand\u2019s cue to do so since we just don\u2019t know quite how to respond these days to sentences that signal a sense of wit when race is brought up even if such a sentence is more deeply signaling a transcending of it for artistic purposes.\u00a0 Coen and much of the film\u2019s company were there on the stage with McDormand and we got a feeling of what it might have been like on the set since she was also a producer of the film and a driving force of getting it made.\u00a0 She can deflect with humor even as she is making it quite clear that she is having the last word.\u00a0 We recognize the slyness of it even as we surrender to it – much like her performance of Lady Macbeth which is, unearthing my Colman description from earlier and making even more of a connection between the two of them, brilliant and troubling and oddly, movingly menacing.\u00a0 Even the famous sleepwalking scene we have always thought of as displaying her own madness to match Macbeth\u2019s guilt-riddled mind \u201co, full of scorpions\u201d is given a silent stunning coda by McDormand\u2019s take that poses its own riddle for us to contemplate regarding the character\u2019s oft rendered hysteria within her somnambulism.\u00a0 McDormand\u2019s reading of the role seems to have made room during the discovery process of rehearsals for some of her own artful slyness to limn her take on Lady Macbeth and to have slipped that reconfigured slyness into her character\u2019s \u201csleep.\u201d<\/p>\n

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Photo Credit: Courtesy of Almeida Theatre<\/figcaption><\/figure>\n

Here is McDormand, the actor and the producer, telling the audience about those rehearsals:\u00a0 \u201cWe had the great good fortune – Joel and Denzel and I – of working probably for about six weeks over a period of time together. So we had our scenes as the couple pretty well locked in and we kind of knew where we were going, and so then when we were able to gather our company we had three weeks of invited rehearsal – unpaid, but invited rehearsal.\u00a0 And everyone came, mind you.\u00a0 Everyone came. We really rehearsed it like a play.\u00a0 We sat around a table.\u00a0 We worked with the text.\u00a0 We got up on our feet.\u00a0 Joel taped out some of the topographical areas we were going to be inhabiting.\u00a0 Often not everyone was always there, so sometimes we would take each other\u2019s roles.\u201d<\/p>\n

Coen also spoke from the stage before the premiere.\u00a0\u00a0 \u201cI would like to thank the BFI\/London Film Festival for having us here tonight and giving us the opportunity to bring our version of this story back to the country that it came from,\u201d he said. \u201cThis is the first film I have made without my brother so I was fortunate to have William Shakespeare to lean on.\u00a0 One of the greatest partners I have had the privilege 0f working with is cinematographer – more than a cinematographer\u00a0 – Bruno Delbonnel,\u201d he said of the man who helped him sculpt this film into a black and white work of art.\u00a0 \u201cAnd I\u2019d like to thank my partner for the last 38 years who played Lady Macbeth when she was fourteen years old and said she would play it again for me. And then she stood next to me for the next two years and produced this movie.\u201d<\/p>\n

McDormand is at her commanding best in the role of Lady Macbeth.\u00a0 She cuts a handsome, conniving figure and is so scary in her flagitious nature because she is so quietly assured that the results of it rend her of any need for rectitude.\u00a0\u00a0 The great acting teacher Michael Chekhov said, \u201cAn actor must burn inside with an outer ease.\u201d\u00a0 And there is an outer ease to all the tasks her Lady Macbeth is burning inside to accomplish.\u00a0 There is a fanatical cleanliness to her unclean acts so that when she infamously washes her hands it comes not from madness but from compulsion. Washington\u2019s Macbeth is magnificently exhausted by her and her expectations.\u00a0 His love for her and his deeper need to please her and live up (or down, as it were) to those expectations is his own compulsion.\u00a0 And yet he summons the strength to weather this woman who is more than weather; she is the very climate in which it all – the play, the characters, the audience – exists even more than the referenced foreshadowing inclemency of Scotland itself.<\/p>\n

This lushly austere black and white film had the feel of Orson Welles\u2019s\u00a0 Citizen Kane<\/em> with touches of Ingmar Bergman\u2019s The Seventh Seal<\/em> and Akira Kurosawa if he had collected the sculptures of Richard Serra.\u00a0\u00a0 I was also reminded because of \u201cthe black and the white of the thing\u201d of Welles\u2019s 1936\u00a0Voodoo Macbeth<\/em> for the Federal Theatre Project and its all-Black cast.\u00a0 My fantasy of McDormand and Colman and Magnani playing the three witches was overcome by the one actress, Kathryn Hunt, who plays them all with the help of Coen\u2019s inspired interpretation of the roles.\u00a0 There is a Gollum-like quality to the performance that really takes flight, as does this film along with her.<\/p>\n

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Photo Credit: Courtesy of Almeida Theatre<\/figcaption><\/figure>\n

McDormand and Washington as their characters – the film and its palette sculpts his blackness and her whiteness beautifully but does not hide their ages while doing it – can seem delusional when talking about their hope for offspring in a world ruled by dynastic families.\u00a0 Their delusion is unsettling and rather heartbreaking. The film\u2019s claustrophobia so beautifully manifested in Stefan Dechant\u2019s production design is a mirror of the childless claustrophobia that their marriage has become.\u00a0 This is not a problem in the other production of Macbeth<\/em> I saw recently at the Almeida Theatre starring James McArdle and Saoirse Ronan.\u00a0\u00a0 It is the hottest ticket in town for good reason.\u00a0 Directed by Ya\u00ebl\u00a0Farber, it is as spatially sculpted as Coen\u2019s black-and-white film but much more violent, its decibel level literally underscored by a cellist onstage and Tom Pane\u2019s pulsing score.\u00a0\u00a0 And yet time seems to be the enemy in both productions for different reasons.\u00a0\u00a0 McArdle recently told Katie Rosseinsky at the Evening Standard<\/em> that he, at 32, and Ronan, still only 27 even though she\u2019s been nominated for four Oscars already, are able because of their ages to explore \u201cthe entitlement of our young and this need for instant gratification, instant success, instant profile or awareness. I\u2019m not really into that but it fascinates me in others and it fascinates me about the Macbeths \u2026\u00a0 If they\u2019d done it right, they would have been king and queen in their fifties, but they were like, \u2018no, we want it now,\u2019 and without proving they have what it takes – they want the status, the adoration, everything. I know this sounds incredibly jaded, but that\u2019s what I think of the world that we\u2019re in.\u201d\u00a0 McArdle went on to describe \u201ccelebrity shit shows\u201d as \u201chaving a real sort of classical element to them that\u2019s Greek or Shakespearean.\u201d\u00a0 For her part, Ronan recently told the BBC that she and her good friend McArdle \u201ckeep thinking of Lady Macbeth and Macbeth as like a Kim Kardashian and Kanye West situation.\u201d\u00a0 In fact, the two actors are such good friends, they share a dressing room at the Almeida and have come to call their characters in the play Neil and Susan.<\/p>\n

All glibness aside, these two young actors glide though this tragedy with the\u00a0 honed talents of two old vets.\u00a0 It is a pas de deux that is grindingly gorgeous to behold.\u00a0\u00a0 Farber is know for her literal fluidity as a director and by the end of the evening this tragic horror show filled with bloody heartbreak is awash with emotion – water, tears, and, yes, lots and lots of spilled blood.\u00a0 There is a river of revenge there on the stage.\u00a0 Ronan reins in her character\u2019s viciousness but she is like a votive candle within the ritualized version of this play as she chooses instead to be lit from within by that viciousness that can\u2019t quite be extinguished within her.\u00a0 The role has even been expanded so that it is Lady Macbeth, not a messenger, who goes to warn Macduff\u2019s wife and children that they are about to be murdered and then witnesses those murders as a way of explaining her later behavior.\u00a0 Ronan is magnificent in that scene which has been reinterpreted for this Almeida production.\u00a0 McArdle, whom American audiences know from the role of Deacon Mark on HBO\u2019s Mare of Easttown<\/em>, is staggeringly good as Macbeth as he plays up those \u201cscorpions\u201d scraping against the inside of his skull.\u00a0\u00a0 It is a frighteningly physical performance.\u00a0\u00a0 If I can\u2019t see McDormand and Colman and Magnani play the witches in Macbeth<\/em>, I have another fantasy that seems more likely.\u00a0 I\u2019d love to see McDormand as Amanda and Ronan as Laura and McArdle as Tom in a production of The Glass Menagerie<\/em> that also would star Corey Hawkins, who portrays Macduff in Joel Coen\u2019s Macbeth<\/em>,\u00a0 as The Gentleman Caller.<\/p>\n

Cush Jumbo is giving a wonderful physical performance as well in her acclaimed portrayal of the title character in Hamlet<\/em> at the Young Vic, another hot ticket this theatre season in London.\u00a0 And yet she is never overly mannered as she so thoroughly convinces us that she is a prince.\u00a0\u00a0 It is a modern dress production and with her slender slouch and shaved head one\u00a0 could imagine Hamlet with a skateboard under his arm as he hangs out with Rosencrantz and Guildenstern – now cast as a boy and a girl who take selfies of themselves in the castle and are played wonderfully by Joana Borja and Taz Skyler.\u00a0 And for you Game of Thrones<\/em> fans, Gertrude is played beautifully by Tara Fitzgerald, who portrayed Selyse Baratheon.\u00a0\u00a0 There is a pureness to Jumbo\u2019s Prince of Denmark, a dignity that you sense has been dirtied by his father\u2019s death and the alacrity of his mother\u2019s remarriage to his uncle.\u00a0 Jumbo is grand in this role.\u00a0 It takes a mature talent and a woman deeply secure in it to tap into something so genuinely youthful and male without it being arch or succumbing to the temptation to \u201ccomment\u201d on the maleness.\u00a0 This production, directed by Greg Hersov, makes you realize finally, too, it is a play about grief as much as madness.<\/p>\n

In fact, madness might be too harsh a term for the interpretations of the characters in the Shakespeare plays I\u2019ve seen in the last couple of weeks here in London.\u00a0 For the first time I realized they might be more precisely about mental illness, not madness. Lady Macbeth is a disordered malignant narcissist.\u00a0 Hamlet is suffering from depression that feels doubled-up on itself by grief.\u00a0 And Romeo and Juliet<\/em>, which I saw at the Globe in its modern-dress production directed by Ola\u00a0 Ince, is about two teenagers who are not just hormonal but can seem at times as if they are suffering from some level of bipolar disorder which would explain the mania of their highs and their lows in the engaging performances of Alfred Enoch as Romeo and Rebekah Murrell as Juliet.\u00a0 But the production focuses less on their romance – I am trying to remember if they even kiss – and more on society\u2019s ills and how it fails to come to the aid of young people in need. When the teenagers commit suicide we are less heartbroken than we are incensed by society\u2019s failure to recognize their problems, help them, and avert such an outcome.<\/p>\n

To circle back to Brecht, Ince uses his placard-like device of written proclamations bannered at the audience before certain scenes to tell us of these ills we face as a society.\u00a0 I was moved by their framing of scenes – especially since I saw it with a matinee audience made up mostly of junior high school students and these banners spoke so specifically about and to the young.\u00a0 Some critics, however, accused the production of being \u201ctoo woke\u201d for employing such a Brechtian device, according to Alfie Enoch, whom I interviewed after another of his matinees at the Globe.\u00a0 Watch for that conversation here at Grazia<\/em>.\u00a0 But those same critics, no doubt, would have accused Bertolt Brecht of the same thing.<\/p>\n

It at times has felt a bit sinful being here in London and seeing so much theater and reveling in culture.\u00a0 But is guilt itself – is feeling sinful – just a form of mental illness?\u00a0 Are Macbeth<\/em> and Hamlet<\/em> and Romeo and Juliet<\/em> as much about sin – what qualifies as sinful and what is a misplaced notion of it\u00a0 – as they are about murder and malice and madness and mental illness?\u00a0 Why has society taught us to take ourselves to task for placing such importance on culture?\u00a0 So many of these characters\u2019 actions are about ridding themselves of their own sinful natures, if not rending themselves of their rightful guilt.\u00a0 I don\u2019t know if I feel rightfully guilty about the gobbling up of so much culture as the vulture for it that I am – even though when looked on like that I have to confess that gluttony is, in fact, one of the Seven Deadly Sins – yet perhaps writing this column is a way of ridding myself of it.\u00a0 Let\u2019s once more turn to Brecht, who proclaimed, \u201cSin is what is new, strong, surprising, strange. The theatre must take an interest in sin if the young are to be able to go there.\u201d<\/p>\n

I\u2019m no longer young.<\/p>\n

I am seldom even really sinful.<\/p>\n

But I thank the Muses that I still have an interest in what is new and strong and surprising and strange. Come to think of it, that is not only a pretty good mission for the theatre, but also for a magazine and its digital site. And it is what you\u2019ll find here at Grazia<\/em>.\u00a0 Keep coming back.<\/p>\n","protected":false},"author":29575,"featured_media":39505,"template":"","format":"standard","categories":[38,16],"yoast_head":"\nLondon Calling - Grazia USA<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/graziamagazine.com\/us\/articles\/london-calling-frances-mcdormand-saoirse-ronan-alfie-enoch-cush-jumbo-and-william-shakespeare\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"London Calling\" \/>\n<meta property=\"og:description\" content=\"\u201cOne of the first times we met Denzel, Denzel said to Joel, \u2018What about the black and the white of the thing, Joel?\u2019” Frances McDormand told the audience before the European premiere of The Tragedy of Macbeth, directed by Joel Coen and starring McDormand as Lady Macbeth and Denzel Washington as the title character, at...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/graziamagazine.com\/us\/articles\/london-calling-frances-mcdormand-saoirse-ronan-alfie-enoch-cush-jumbo-and-william-shakespeare\/\" \/>\n<meta property=\"og:site_name\" content=\"Grazia USA\" \/>\n<meta property=\"article:modified_time\" content=\"2021-11-05T16:50:13+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/graziamagazine.com\/us\/wp-content\/uploads\/sites\/15\/2021\/10\/Macbeth-featured.png?fit=1280%2C720\" \/>\n\t<meta property=\"og:image:width\" content=\"1280\" \/>\n\t<meta property=\"og:image:height\" content=\"720\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"15 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/graziamagazine.com\/us\/articles\/london-calling-frances-mcdormand-saoirse-ronan-alfie-enoch-cush-jumbo-and-william-shakespeare\/\",\"url\":\"https:\/\/graziamagazine.com\/us\/articles\/london-calling-frances-mcdormand-saoirse-ronan-alfie-enoch-cush-jumbo-and-william-shakespeare\/\",\"name\":\"London Calling - 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