There is no terror in the witches, either: Diane Fletcher, Maureen Hibbert and Valerie Lilley appear stately and benign with their silver hair and grave incantations – more like an all-seeing, ever-present and wise Greek chorus than a supernatural trio of weird sisters. She wilts with guilt into low-key sadness and never quite becomes a centripetal force in the play, or the true “partner of greatness” to Macbeth. But it's the hard-hearted Lady Macbeth who eventually collapses under the weight of guilt, and she is the one who gives this monologue.James McArdle’s Macbeth appears simply to be an upstanding soldier for the first half while Saoirse Ronan’s Lady Macbeth (who singularly speaks in an Irish accent against the cast’s Scottish lilt) is a gleamingly young, passionate wife, almost angelic in her white jumpsuit in the opening scenes, and girlish in her later unravelling. Macbeth suffers fits of hysteria and hallucinates Banquo's ghost with blood-clotted hair. To hold onto his ill-gotten crown, he orders the slaughter of his friend Banquo and the entire household of Lord Macduff, the Thane of Fife. The king is only one of many killings during Macbeth's bloody reign. To bed, to bed! there's knocking at the gate:Ĭome, come, come, come, give me your hand. I tell you yet again, Banquo's buried he Wash your hands, put on your nightgown look not so Perfumes of Arabia will not sweeten this little

Here's the smell of the blood still: all the That, my lord, no more o' that: you mar all with What, will these hands ne'er be clean? - No more o' The thane of Fife had a wife: where is she now?.

Lord, fie! a soldier, and afeard? What need weįear who knows it, when none can call our power toĪccount? - Yet who would have thought the old man 'Out, damned spot! out, I say! - One: two: why,

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