STAGE REVIEW: Macbeth - at the Royal Shakespeare Theatre, Stratford-upon-Avon, until Saturday, September 18, 2018.

NEXT time I must remind myself to read up on the latest ‘Witch’ report before heading off to watch the Scottish play…

Perhaps then jaws would not have dropped - as many did - when the anticipated arrival of three ugly, evil old hags relinquished the witch ‘fear factor’ in favour of three cute onesie wearing young girls each holding china dolls!

It could have had a considerably chilling effect but the look in no way resonated with any of the successful horror stories of hauntings and wrong-doings by children with supernatural powers on stage or screen in the past.

It did work to a degree but could have been a more harrowing experience. After all, one of the primary factors in this tale of tragedy is the foretelling of the terrible events about to unfold - prophesies relating to the main protaganists. However, the girls’ rhythmic tones - babyish yet somewhat eerie - along with their slow movement and stares, was a touch disquieting.

The Bard’s tale of treachery and tragedy north of Hadrian’s Wall is one of his shortest at a shade under two-and-a-half hours and provides the impression we are witness to the concept of time - and that time is at its very core and of primary essence.

Hence Polly Findlay’s revival of this psychological thriller is dominated by a large countdown timepiece above the stage - illustrating that time is clearly running out for someone and we all know it’s the treacherous man who would be King of Scotland driven on regardless by his sinisterly ambitious wife.

There are other spots of unusual tweaking of the tale here and there - once again tradition gives way to contemporary mode, a water cooler in the corner - so useful for washing off blood, the King and his entourage decked out for a nightclub dinner-date - where we have Banquo’s banquet haunting, and a comical porter-cum-janitor (Michael Hodgson) in a Peter Sellers-esque mode a la I’m Alright Jack.

A wee bit amusing, but confusing too.

Nothing confusing though with Christopher Eccleston’s RSC debut in the lead role which is thoroughly workmanlike. It was accomplished without being outstanding, while Niamh Cusack’s Lady Macbeth leads from the front in all aspects.

She knows what she wants, what she really, really wants…

Eccleston, inextricably linked to Dr Who, although you’re invited to forget this with no mention in the programme notes, certainly doesn’t escape from his northern links. He has vim and vigour, much like his character, and though gruff at times is positive and purposeful.

Cusack is her usual watchable self, both style and substance as she schemes and ensures Macbeth needs no second bidding.

A generally strong cast overall make the most of director Findlay’s finer points but there have been any number of better productions in the past.

Real plus points are the atmospheric music and lighting, while there are top drawer performances from Edward Bennett as the maligned MacDuff and Raphael Sowole’s Banquo.

Overall this production - which is lively and pacy - just about gets away with what it is straining to achieve, but there’s still that yearning, if not burning desire to see a step back into what Shakespeare intended in presentation.

Time to ignore pretentious modern creativity that often grates instead of gratifies, and to see the dress of that time.

More back to basics to ensure there is real impact to the treat that Macbeth should surely be.