In 1667 Samuel Pepys judged 'Macbeth' to be 'one of the best plays for a stage and variety of dancing and musick that ever I saw'. Shakespeare's plays have often been cut and re-shaped by various redactors, and this was especially so when the theatre, along with the monarchy, was restored in 1660. The great works were regarded as adaptable; 'to suit a more refined age', as Dryden said. Hence the above remark by Pepys about the 'dancing and musick' in 'Macbeth'.

Father Armishaw's production of the play on Association Day this year suffered from no such adaptation. He gave us pure, unadulterated Shakespeare staged in the best Elizabethan tradition. There was continuous action on an open stage; this meant that the audience's interest was never allowed to flag. There was never a dull moment. The storm scene and the apparitions were managed excellently. There was, however, some doubt among the audience about the murder of Banquo, for they had the impression that he was murdered inside the palace at Forres, rather than on the road leading to it. One other criticism was with the banquet scene before the entry of Banquo's ghost. There was an initial burst of conversation as the guests arrived, but, in spite of the jugs of wine being passed round, the guests were not particularly loquacious until Banquo's ghost arrived.

There were fewer passengers in this play than ever before, and the whole cast acted remarkably well as a team. This was particularly so when Macbeth and Lady Macbeth were on the stage together. Similarly, Macbeth, Banquo and Macduff were at their best together.

K T Conry, as Macbeth, played the part as well as any of the great heroes of the past on the Cotton stage. He grew in stature as the play progressed and he looked the part, both in make-up and dress. What is more, he

K T Conry (Macbeth) and M A Connolly (Lady Macbeth)

appeared to do it so effortlessly. To digress for a moment, during the Hilary Term Conry carried the burdens of Macbeth and Public Man, and still managed to do remarkably well in his examinations at the end of the term. He gave a fine, well-balanced performance as he declined from the man of action to the neurotic. His voice was always correctly modulated; full of passion when he learns of Malcolm's nomination as the prince of Cumberland, broken at the revulsion he feels after murdering Duncan, accompanied by heavy breathing at the dagger soliloquy, desperate after the appearance of Banquo's ghost.

M A Connolly, as Lady Macbcth, looked and sounded more feminine than in his previous female parts. He had an extremely difficult part here, but went from strength to strength and seemed to thrive on the most difficult scenes, particularly the sleep-walking scene. He was convincing both as a wife and as a hostess. lie moved about the stage very well, and his voice is as clear as a bell. He brought out the meaning of the lines, and especially the irony in the play, extremely well. His icy calm at the murder of Duncan, his obvious domination of Macbeth, his fainting, and his expressions at the banquet scene were all equally convincing.

D B McLoughlin, as Banquo, gave a rather cynical interpretation to the part. This brought out very well his suspicion of Macbeth after the meeting with the witches. lie has a fine speaking voice and stage presence, and he made an excellent malevolent ghost; he was sinister without being helpless.

P M McCrystal (Macduff) looked the polished actor that he is when he made his first entry at Inverness Castle after the murder of Duncan. He communicated very well his doubt about Macbeth's professed innocence. lie was most effective by underplaying rather than overplaying his part. His reception of the news of his wife's and children's murder was fittingly stoical.

Macduff's long scene with Malcolm (P H Allen) was very good. They were both composed and managed to hold the audience's attention throughout, which is no mean feat. Allen spoke extremely well and acted with confidence and conviction, but I doubt whether Macduff could have been deceived by his false catalogue of wrongdoings.

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