"Macbeth is timeless." This is the certainty that comes to mind when leaving the Cabaret room of the Théâtre de l'Essaïon after seeing Philippe Nicaud, alone on stage, reinvent Shakespeare's drama in a nearly hour-and-a-half performance that one is unlikely to forget.

While the plot and the extraordinary phrasing of the Bard of Avon are universal, the feelings and states of mind of the humans depicted within it are even more so. We have all been consumed by those vicious emotions of envy, pride, and vanity. They are a constant in human history which, far from belonging to the past, are, on the contrary, what does not pass away and constantly returns in different forms. Thus, when temptation devours Lady Macbeth, it is easy to represent her with an aesthetic reminiscent of Lady Marmalade. As the Scottish general's crime is committed, the shrill clatter of modern speakers easily replaces the bells of medieval castles. When Macbeth succumbs to drunkenness, he ultimately evokes the modern-day barfly, while when he succumbs to madness, the actor's horrific performance, so characteristic of our time, seems tailor-made for the occasion.
And then, just as we are completely absorbed by the play's somewhat ludicrous reality, we realize that it exists because of someone's creativity. A man who, from writing the dialogue to composing the soundscape, is the originator of everything. This same man is the one we are watching portray all the characters, one after the other, with a stunning accuracy that almost makes us believe he is truly inhabited by the souls he embodies. Two elements that particularly caught our attention lead us to conclude that this world is perfectly controlled.

The first aspect concerns the three witches. While each of the human characters possesses a striking modernity, the witches remain perfectly true to their historical setting. With only a black cloth covering his head, Philippe Nicaud's performance reveals the broken teeth of the first witch, the long, slow build of the second, and the pustules on the face of the last. Far from the idealized and sometimes fantasized image of aristocracy, it is medieval Scotland—the real, folkloric, and popular Scotland—that unfolds before our eyes.

The second, more tangible aspect concerns the use of space. With minimalist conditions, the actor has created an entire reality, made palpable by a masterful use of sound, lighting, and rhythm. A mop becomes a bloodstained head, a colander a warrior's helmet, and a small festive hat found in a bazaar an accessory for guests at a medieval feast, where electronic music reigns supreme. And we believe it!

Saying more wouldn't be very useful. We can only warmly recommend that you go see this Macbeth. Those unfamiliar with the play will discover it in a modern version that brilliantly conveys its message. Those who know it will be surprised by a version they never imagined. Ultimately, everyone will find something to enjoy and leave having had a good time, regardless of their theater experience…

THÉÂTRE DE L'ESSAÏON
From May 18 to June 24, 2023
6 rue Pierre au Lard, 75004
Thurs. to Sat. at 7:15 pm