Competing with a landmark production is an unenviable task. After Rupert Goold's scintillating Macbeth, which opened in Chichester last week, director Edward Kemp and his team were always going to face an uphill struggle for acclaim. They don't quite make it to the top, but this fleet-of-foot staging is consistently intriguing.
One of the biggest boons of this venue is its natural parkland backdrop. There was so much that designer Jon Bausor could have done yet he has chosen to dump four corrugated iron huts on stage. These might just pass muster for arms stores in the opening battle but thereafter they signify nothing. Add in some strange Scotland-via-Athens costumes, all military jackets tied with large sashes, and the visuals give few clues as to how - or when - Kemp and co view this power grab.
Away from background babble, Antony Byrne's fine Macbeth starts strong and gets stronger, bringing an especially impressive nihilistic sensibility to the closing scenes.
Sarah Woodward takes a fascinating line with Lady Macbeth, making her a bluff, fiercely practical sort. The only hitch here is that during her ultimate mental disintegration, we half expect her to get up and write a shopping list.
Former Blue Peter presenter Peter Duncan proves just as dab a hand with iambic pentameters as sticky-backed plastic as Macduff. Kemp might simply wish that he'd made this one earlier.
In rep until 16 August (08700 601 811).
Macbeth
Open Air Theatre
Regent's Park, NW1 4NP
