As we move towards a high-octane ending, Farber extends Lady MacbethвЂ™s inability to wash herself clean of blood into a visual metaphor for the Macbeths drowning in remorse. Special mention must go to Akiya Henry as Lady Macduff, whose reaction to her child having its throat cut is utterly nerve-shredding.ДЄs an audience, weвЂ™re implicated in the action: the banquet where BanquoвЂ™s blood-dribbling ghost appears is almost like a political rally, the Macbeths addressing their speeches into microphones to us.ДЄnd the dark-suited witchesвЂ™ famous first line, вЂWhen shall we three meet again?вЂ™, becomes the far more incriminating вЂWhen shall we all meet again?вЂ™ вЂ“ jarring, to be honest, until itвЂ™s repeated at the playвЂ™s conclusion, as the young Fleance wields a gun.ДЇarber hammers home the idea that violence begets violence.ДЇarberвЂ™s work always delivers stunning imagery, and she conjures a murky, misty Scotland, sound-tracked by growling cello and witchesвЂ™ sighs. Farber inserts Lady Macduff and her children into earlier scenes, so we have a greater emotional investment when they are brutally murdered вЂ“ but she also makes Lady Macbeth an aghast witness to this butchery. Children are both witness to, and victims of, the blooming violence. ThereвЂ™s a nightmarish quality to her restlessness.ДЇarber turns the screws further with some canny interventions. Ronan, meanwhile, casts a chill вЂ“ you shiver to watch her mind crack. McArdleвЂ™s burns hot prizes surely await for this wild, searing performance.

Saoirse Ronan (above, with James McArdle) makes a powerful British stage debut as Lady Macbeth, she starts off more scornful, exasperated wife than any kind of monstrous vampДЄnd while Saoirse Ronan makes a powerful British stage debut as Lady Macbeth, she starts off more scornful, exasperated wife than any kind of monstrous vamp.Д«y the second half, however, they are both completely destroyed by guilt.

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