Instead, McCardle and Ronan sculpt empathetic versions of the Macbeths for whom there exists some latent ambition that is activated and bolstered by the other.
Neither is wholly ruthless or indecisive, nor are they Machiavellian megalomaniacs hell-bent on pursuing power. There is a truth to that in Farber’s Macbeth, yet here Saoirse Ronan and James McCardle find a nuance richer still. Freud argued that Macbeth and Lady Macbeth are halved parts of a single character. This is ultimately to the betterment of an otherwise aesthetically driven, somewhat incoherent production which occasionally trips over its own image-making. Yaël Farber’s Macbeth hones in on this interlacing of the couple’s aspirational greatness with their genuine adoration of each other and exposes it as the central tragedy of the play. Indeed, Macbeth repeatedly describes his wife as ‘dearest’ throughout the tragedy, and Harold Bloom once jokingly referred to them as ‘the happiest marriage in Shakespeare’. In his letter, Macbeth refers to Lady Macbeth as ‘my dearest partner of greatness’. Saoirse Ronan as Lady Macbeth in The Tragedy of Macbeth.
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