act five
theatre company
Reviews
‘Twelfth Night’ – 1995
Bath Chronicle
“Bravura performances … impressive … authentic music … combined talents succeeded in lending one of Shakespeare’s most popular comedies a truly authentic feel … a chance to enjoy.”
‘King Lear’ – 1996
“This is a gripping, articulate and … moving production … with two formidably virile and brutal performances from Marc Danbury and Kenneth Bell.”
‘The Rape of Lucrece’ – 2000
Bristol Evening Post
“Three talented performers … dramatised Shakespeare’s passionate narrative poem … a compelling combination of live action and reflective narration … proves simple irresistible.”
‘The Lesson’ – 2001
The Stage
“Act V has already won wide ranging approval for bold productions of Hamlet, King Lear and the Rape of Lucrece … a truly virtuoso performance by Act V founder member Kenneth Bell .. in Ionesco’s terrifying glimpse of the abuse of human rights under Nick Benson’s pacey and full frontal direction.”
‘Richard II’ – 2003
“Act V manage to succeed by delivering a crisp, uncluttered and scaled down text with truthful and intelligent performances.”
Bristol Evening Post – April 2005
‘Macbeth: Alma Tavern Theatre, Clifton “A timely reminder of the murderous effects of political shenanigans and backstairs double dealing in the race for power is demonstrated in a superbly stripped-down version of Shakespeare’s ‘Macbeth’. Act V Theatre has gained a well-deserved reputation for its imaginative interpretations of Shakespeare, and this ‘Macbeth’ is no exception to this consistently high standard.
Using just four actors to play all the major characters, Act V grip the audience from the beginning.
It might be argued that the witches’ scene which opens the play cannot fail to engage, but Kenneth C. Bell, Ruth Rogers and Luke Cox play it with all the pale-faced, red-lipped mania they can muster.
This adaptation of the play hinges cleverly on the subtle shape shifting of these three pivotal characters into Banquo, Macduff, and others and the trio perform this with clarity and dexterity.
As Macbeth himself, Marc Danbury takes on the role of the uncertain pretender with a leather - trousered muscularity rarely seen in more conventional productions.
With a mind “full of scorpions” but a conscience which becomes a pest, Macbeth’s torments are played close up and very personal by Danbury.
In this small space his agonising over the trouble he unleashes in the challenge for the crown is a sweaty and turbulent experience.
Ruth Rogers, as Lady Macbeth, plays the power behind the throne with all the attributes of the smiling assassin in place.
We perhaps shouldn’t call up the unholy trio of Cherie Blair, Christine Hamilton and Hilary Clinton; but hell, why not?
Rogers captures the public sweetness and private steeliness of all three, and her descent into madness is a strangely satisfying, if somewhat short, experience.
To many theatre companies who choose to abbreviate Shakespeare play the resulting text for laughs, but not this one.
Physicality and imagination are their watchwords and these - combined with simplicity do not fail to hit the mark time and time again.’
Tom Henry. Rating: 
Venue Magazine – April 2005
‘Lumme. More Shakespeare. More lavish costumes, elaborate scene changes and oh - so - imposing actors pontificating self-importantly.
Well not this time and all the better for it. Act V’s pared-down, breakneck-speed ‘Macbeth’ was a healthy treat for anyone jaded by too much Bardic excess: the Bristol troupe, given to re - inventing the classics, were on song here. With a cast of four, and no scene changes, the show was kept to a nippy eighty minutes and was a visceral joy to watch.
Without the cluttering of props and scene changes, Macbeth’s powerful strands – ambition, envy, black magic and vying machismo – emerged all the more powerfully.
Marc Danbury was a splendid hero: huge and handsome, with and expressive face on which the Thane’s every triumph and setbacks were clearly etched.
Kenneth Bell, Ruth Rogers and Luke Cox played the three witches and shared the remaining roles between them.
There were some thrilling scenes, in particular Macbeth and his lady in their bedchamber busily plotting Duncan’s murder, were greed, power and sexuality all seem to be coming from the same source.
Indeed, Rogers’ Lady Macbeth was one of the highlights; a manipulative, sensual vamp who’s decent into madness seemed inevitable. Cox’s Macduff was a straight - backed, belligerent laird, and all three actors looked utterly in their skins (some times at very short notice) as the frenetic, cackling witches.
A gripping, black-hearted rendition that raced along at a good clip and teased out some intense performances.’ Steve Wright
Venue Magazine – April 2005
“Act V’s pared-down, breakneck-speed ‘Macbeth’ was a healthy treat for anyone jaded by too much Bardic excess: the Bristol troupe … were on song here. With a cast of four, and no scene changes, the show was kept to a nippy eighty minutes and was a visceral joy to watch.
Without the cluttering of props and scene changes, Macbeth’s powerful strands – ambition, envy, black magic and vying machismo – emerged all the more powerfully.
A gripping, black-hearted rendition that raced along at a good clip and teased out some intense performances.”
Venue Magazine – January 2006 ‘Yearly Review..Best Shakespeare of 2005
‘At the start of the year, Shakespeare at the Tobacco Factory gave us two more well - crafted performances, the pick a tight fizzy version of Chekhov’s Three Sisters, one of the best things seen all year.
In fact, the best Shakespeare of 2005, was a stripped - bare Macbeth at the Alma, courtesy of locals Act V. A fast, lusty rip - roarer with a cast of four and no scene changes, thrusting the play’s envy, black magic and machismo centre stage.’ Steve Wright
Venue Magazine - March 2006
‘Marc Danbury turns in a top notch performance as the murderous Thane.’
Bath Chronicle – March 2006 (Bath Shakespeare Festival)
‘If Macbeth were alive today the chances are he’d get off scot - free.
“Those wee weird lassies put me up to it,” he’d plead procurator-fiscal.
And as the witches are indeed the prime movers and shakers behind his terrible deeds, what a great idea to upgrade them from minor to major players and keep them in on the frantic action throughout. Which is what gives this rip - roaring laugh/cry/gasp/shout - a - minute production by the Act V Theatre Company its cutting edge.
Where do these three meet time and again? Why, up a wonky step - ladder where they survey the sound and fury of the plot with a perpetual maniacal leer. When they’re not doubling up, that is. For this bare - set staging has a cast of four and as Marc Danbury is on solo Macbeth duties, the others have to flesh out everyone else.
They do it exquisitely, with delivery and facial expressions that bring astonishing freshness to the familiar words, plus immediate understanding to the less remembered.
Ruth Rogers is a truly formidable Lady M, hysterically demented in her Out damned spot speech and sexually supercharged in her earlier egging - on of her lily - livered spouse. There’s nothing subtle about the chemistry of their loveless relationship.
Similar clarity and conviction emanate from Kenneth C. Bell as Banquo and Luke Cox as Duncan and Macduff. Danbury, meanwhile is immensely plausible while invoking our terror and pity in the title role. Sympathy for the devil? You bet.
The Bath Shakespeare festival crams an infinite variety into its two weeks. This year it may have saved the best till last with a remarkable production that is simply, well, wicked.’
Peter Patston.
Bristol Evening Post – March 2006 (Bath Shakespeare Festival)
Festival ends on a flourish
‘What to do with the witches - that is the question.
Directors of Shakespeare’s Macbeth usually choose to make them traditional cauldron - bubblers, comic characters in fancy dress or minor figures who spew forth their predictions and disappear in a puff of smoke.
Nick Benson and the Act V Company go for a totally different approach, making the newt - cooking trio ever present throughout the action, initially as narrators, always as observers but most importantly as a mystical influence on everyone else in the story. And it is a ploy, which works with magical success.
Four actors dressed in black with a stepladder as the only on - stage furniture perform a terrific telling of the tale of murder and intrigue in Scotland. With great clarity of voice and excellent physical skills they never allow the tension to flag for an instant.
Ruth Rogers is exceptional as Lady Macbeth, first urging her husband to violence with frenzied passion and later disintegrating into hysterical madness.
Marc Danbury exposes Macbeth’s troubled soul but also shows boldness when necessary. His dynamic fight with Luke Cox’s Macduff provides a gripping climax.
Kenneth C Bell completes the quartet as a ghostly Banquo as well as teaming with Rogers and Cox to create the wondrous witches.’ Alan King Rating: