When shall we three meet again? In thunder, lightning, or… at the cinema from February 5th to watch the recording of Donmar Warehouse’s critically acclaimed production of Macbeth starring David Tennant and Cush Jumbo? Yeah, that sounds better than the wet weather option! I was lucky enough to catch a preview screening last night, and I have to tell you, it was captivating.
When shall we three meet again? In thunder, lightning, or… at the cinema from February 5th to watch the recording of Donmar Warehouse’s critically acclaimed production of Macbeth starring David Tennant and Cush Jumbo? Yeah, that sounds better than the wet weather option! I was lucky enough to catch a preview screening last night, and I have to tell you, it was captivating.



Macbeth is a new play by little-known playwright William Shakespeare. It tells the story of… KIDDING, all I need to say is that it’s the Shakespeare play set in Scotland where he kills the king, becomes the king, and his wife eggs him on all the way before going mad. You probably studied it at school, like I did.
Tennant is mesmerizing in the title role, portraying Macbeth’s slow decline into paranoia and madness with all the skill that has made him one of Britain’s most treasured actors – and many Whovians’ favourite Doctor. The fear driving his every heinous deed is so evident in his face and eyes, as he desperately clings to his ill-gotten throne. From the moment he hears the prophecy proclaiming him king, his dark ambition is palpable.
Jumbo’s Lady Macbeth is sublime. Dressed in white but exuding dark ambition, she radiates the intoxicating energy of someone who always gets what they want. Her excitement at hearing the Wyrd sisters’ prophecy is like that of a child at Christmas – a child who would kill Santa to make sure they get their presents. Admittedly a flawed analogy, but her Lady M nails that entitled, impulsive intensity. Macbeth’s reluctance to kill his kinsman is written in Tennant’s every word and twitch, but her emasculating taunts finally convince him to “screw [his] courage to the sticking place.” Her sleepwalking scene, with the iconic “out, damned spot… who knew the old man had so much blood in him,” is electric. You feel every fragment of her descent into madness – a woman utterly consumed by guilt and ambition, teetering on the edge of collapse.



The dynamic between the two leads is superb, with both bringing their A-game throughout. This is true of the rest of the cast too. My favorite supporting performance comes from Noof Ousellam as Macduff. When Macduff is given the devastating news that his family, including his wife and children, have been slaughtered, the anguish on his face brought me to tears. His repeated, disbelieving utterances of “all my pretty ones?” were so raw and palpable that I felt my chest tighten with grief.
In stark contrast, Jatinder Singh Randhawa’s Porter provides some much-needed comic relief. Just after the drama of Duncan’s murder, the drunken Porter stumbles in, chatting with the audience, throwing in some modern slang, and hamming it up wonderfully. It’s not often you see the Porter scene as anything more than a brief interlude, but Randhawa makes it feel like a comedy set straight out of Live at the Apollo.
Rosanna Vize’s set design is stark yet visually arresting. The stage is an empty white square surrounded on three sides by the audience, with a black curtained rear wall. At key moments, the curtain rises to reveal a giant window behind which the ensemble sit, either chanting in chorus or characters banging on the glass – a hauntingly clever touch that feels like they’re on another plane of existence. The minimalist set focuses the audience entirely on the performances, and it works beautifully.

When the production was performed live, audience members wore headphones to fully immerse themselves in the 3D sound design by Gareth Fry. This allowed them to hear 3D soundscapes, and actors whispering directly into their ears, adding an eerie intimacy to key moments. For the cinema version, this effect translates into a stunning use of Dolby Atmos; as it starts, the witches’ opening chant of “when shall we three meet again…” echoes around the space, making an already spooky moment feel even more unnerving.
The music, composed and directed by Alasdair Macrae, enhances the tension and atmosphere, with a live Celtic band visible behind the glass. Their music is a constant reminder of the play’s Scottish roots, grounding the tragedy in its setting.
I cannot recommend enough that you get yourself a ticket for this powerfully performed and beautifully filmed production of Macbeth. To witness such an extraordinary display of talent for the price of a cinema ticket is an opportunity not to be missed.
“Is this a ticket I see before me?” Yes, it is. And you should grab it before it disappears!
Get your tickets now from MacbethDonmarCinema.com
Screening from 5th Feb at cinemas nationwide.
Words Nick Barr
Photos by Marc Brenner