Treasure Island

~ King-Farlow’s skilfully edited and staged adaptation is perfectly pitched from witchy start to blood-letting finish with the cast of four woman each playing a central role, flipping to a range of vignettes as the plot demanded. They stick to the original text most of the time but judicious insertion of new modern language material bookends the piece as well as providing occasional and helpful plot signposts as the action unfolds. …The quartet use every square inch of a blank stage with exits/entrances at each corner and work hard to ensure the audience feels involved and engaged. Mind you, with the passion, tension and range of other emotions on display, no one’s attention is going to drift far for fear of missing something from what’s a universally strong cast.

…There’s so much about this piece to both admire and enjoy and it’s clear that a lot of thought has gone into its staging. The witches feline movement, the swirling of their cloaks creating the impression of mist drifting across a desolate Scottish landscape. The use of geometry to keep audience sightlines clear – triangles, diamonds, squares of performers skilfully maintained as they moved around the stage.

…But they saved the best until last – the denouement between Macduff and Macbeth. The stage tension between Floyd and Adler was electric as they circled each other like a pair of prize fighters preparing to go the distance. Verbally it was superb, words being spat with a vehement intensity that raised hairs on the back of the neck. Physically, it was breathtaking, sword fighting that felt real, blood that looked it. Peerless.