The Chamber Cycle is ambitious to say the least — four consecutive plays for twenty-five almost-consecutive days — and this Herculean project is a must-see for any serious fan of Shakespeare and/or tragedy. The central idea is to eliminate any part of the script which does not directly involve the main character.
Their approach tends to minimalism, but not excessively so. Their stage and props are pieces of coloured cloth, their costumes smooth and black. The room has the tranquil discipline of dojo, the lighting is low and intimate, colours are carefully employed, and the overall effect is both beautiful and haunting.
This crew is an example to young actors everywhere, the production is overflowing with believable physicality and heartfelt misery as each tragedy rolls on. The same actor somewhat incredibly plays each protagonist and if you watch all four parts, as you may well be tempted to do, the unity of the plays becomes clear and thus their vision is a remarkable success in its execution.
Macbeth starts out feeling a little thin and hollow but picks up with the appearance of a wonderfully steely Lady Macbeth. While still excellent, Macbeth lacks freshness and dynamism, especially compared to the rich intensity of the other three Chamber plays, but if you only watch this one you won’t notice.
You might find this adaptation a little challenging if you aren’t already familiar with the plot since the elimination of minor parts robs the action of some context. Also sacrificed is the sensation of transition — there’s no punctuation — everything flows smoothly, perhaps a little too smoothly, the passage of time is vague. This demands some extra attention, but it pays off
4/5 
Bernie Greenwood
