Director Paul Miller talks about the isolation & power in Macbeth at Chichester Festival Theatre.
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Chichester Festival Theatre’s production of Shakespeare’s famous tragedy Macbeth, led by John Simm and Dervla Kirwan as the corrupted couple, marks a homecoming for director Paul Miller.
“I was born in Chichester and my family goes back several generations on the south coast,” he said.
“‘I saw a lot of the summer programmes in the late ’70s through to the mid ’80s, so it was my theatrical upbringing”.

Now artistic director of the prestigious Orange Tree Theatre in Richmond, Paul has directed John Simm in several plays (one of which brought John an Olivier Award nomination), and in a successful production of Hamlet at Sheffield Crucible.
“Practically as the lights came down on the last performance, he turned to me and said ‘I want to do Macbeth next’.”
Simm is well known to TV audiences for starring in hit TV series such as Strangers, Collateral, Dr Who and Life on Mars.
But, says Paul, John is ‘a remarkable stage actor’.
“If you’ve never seen him on stage you have to take this chance, because he’s got a real stage presence and voice and intelligence.
“That quality of nervous, flickering thoughtfulness that he brings is perfect for this part”.
Macbeth is a potent brew with its supernatural elements of witches and apparitions, combined with violent action, poetry and edge-of-the-seat storytelling. How will Paul be approaching the production?
“We’re trying to conjure a world that feels recognisable but a little remote, like some frozen part of Northern Europe, maybe 100 years ago, but where a physical brutality is still very much part of life.
“Macbeth starts on a journey into his own mind. He’s both delusional but also very self-aware and fascinated by the inner contours of his own mind and his soul.

“One of the reasons I didn’t want to put it in a modern political setting is precisely because it might reduce it.
“It’s most potent when it exists as a metaphor.
“But I think it’s very easy to see all sorts of contemporary parallels.
“People make one terrible decision and that leads inexorably to another bad decision, and they get more and more boxed into their own position.
“I also think it paints a very brilliant, vivid picture of the isolation that comes with power. The more power is exercised arbitrarily, or irrationally, the more fundamentally isolated the person becomes.”
Finally, Paul adds: “Macbeth is a very famous play and, in theatre circles, there’s a tendency for people to ask a director: ‘What are you going to do with it?’.
“I always think it’s terribly important to remember that on any given performance, for a sizable number of people, this will be a story which they’ve never seen before.
“So I look forward, hopefully, to telling the story freshly, for them.”
Macbeth runs at Chichester Festival Theatre from September 21 – October 26.
Agree with the above comment regarding poor sound, when we went to see Macbeth yesterday evening. Many round us felt the same. We were on the side of the stage in Row F, so quite close to the stage. As the auditorium was not full, we moved to central seats at the interval to see if the sound was better. The voices were much clearer but still the female voices were more difficult to hear. Good sound is crucial with so much dialogue. The set was impressive, and the actors use of the auditorium.
Saw Macbeth at Chichester Theatre last night and was hugely disappointed with the sound quality as were many of the people around me. Voices were very muffled. Surely the actors should have some type of sound system. We were about 12 rows up so I don’t know how the people at the back heard. The acting was great but having seen a number of different productions of Macbeth felt this was inferior