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MACBETH by William ShakespeareDirected by John Buckingham

Reading: Wed 8th Nov 2017, 7.45 at the Mary Wallace TheatreAuditions: Mon 20th Nov.,7.45 at the Mary Wallace TheatrePerformances: Sat 17th - Sat 24th March 2018 at the Mary Wallace TheatreRehearsals: official start Sun afternoon 21st Jan 2018

(From then on Tuesday, Thursday, Friday evenings and Sunday afternoons).

Macbeth is a play about fear. When first performed in 1606, belief in witches and supernatural intervention in the governance of the realm suggests this play would have held a real sense of immediacy and danger for the audience. Today, it retains an aura of superstition, especially in theatrical circles. I hope to use theatrical techniques to allow the audience to share Macbeth’s physical and metaphysical insecurity. On its simplest level, think The Woman in Black.

Although “equivocation” is a major theme of Macbeth, I have decided against a gender fluid production as there is also a strong theme of male militarism. I have edited a performing version which provides for a company of 15 with some degree of gender flexibility, although not gender neutrality. In addition to the nominated female roles, younger females will play boys and youths. However, depending upon audition turn-out, pragmatically, some of the male thanes may yet find themselves undergoing transition! All actors will be busy throughout, whether doubling roles or not. Character reduction and the reallocation of lines has enabled a greater differentiation between Shakespeare’s numerous thanes, and some minor characters have gained interesting new story arcs.

Actors playing the following characters will not be required to double:

MACBETH: (Early middle-aged male). Thane. A courageous soldier whose ambition betrays every solid thing in his life: king, society, friendship, followers, and possibly even the love of his wife. Persuaded to murder but plagued by insecurity, he succumbs to fear and loses his grip on reality, seeing himself as an actor in a drama, controlled by forces he cannot comprehend. Finally, all he has left is the instinctive courage of the soldier but coupled with a nihilism destructive to all, including himself. This is one of the greatest roles in dramatic literature. It requires an experienced performer to act for an emotionally and physically draining two hours, while speaking some of the world’s most famous verse… and then undertake two fights with broadswords!

LADY MACBETH: (Early middle-aged female). A legendary female theatrical role. Possibly stemming from the loss of children, and as a woman in a patriarchal society, Lady M channels her own ambition through her husband’s. As an active agent in his rise to power, she is susceptible to the same malign powers that control him. She loves him and initially succeeds in quashing his conscientious objections. But, when his insecurity increases the bloodshed and he excludes her, she rapidly falls into a decline.

MALCOLM: (Young male or female actor). Eldest son to King Duncan. Medieval Scotland had an elective not a hereditary monarchy, so his nomination as heir-apparent, and Duncan’s murder, makes him conscious of his status and vulnerability. With Macbeth, he shares a capacity for courage and fear. Probably a young male actor’s role, yet Macbeth’s contemptuous reference to “the boy, Malcolm” opens the possibility of a young female taking on the part.

MACDUFF: (Early middle aged-male). Thane. Something of an inscrutable ‘loner’. Like Macbeth, he is more warrior than politician, and some rivalry or animosity may exist between the two men from the start. The greatest challenges for any actor playing this role are the Act 4 scene where he learns about the murder of his whole family, and his vengeful final duel with Macbeth.

ROSS: (Male – any age). Thane. More politician than warrior. Slightly effete, but with a sinister edge. Is he simply a professional survivor or a Machiavellian schemer with ambitions matching Macbeth’s own?

LENNOX: (Middle-aged to elderly male). Thane. Possibly older than others. Lennox seems to have genuine integrity, believes his feudal oath, and only finally deserts Macbeth after the plot against Macduff’s family.

ANGUS: (Young to middle-aged male). Thane. Possibly younger than others. Among the last to desert, after the plot against Macduff’s family. He seems genuinely shocked by Macbeth’s depravity and risks his own life to warn Lady Macduff.

SEYTON: (Male – any age). Macbeth’s Steward is a composite creation from several figures, including the named character in Act 5. He becomes Shakespeare’s enigmatic “Third Murderer”. Macbeth’s right-hand man - not quite Baldric to Macbeth’s Blackadder, but a sinister alter-ego without conscience, suggesting he might also be an agent of the witches…

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MACBETH by William ShakespeareDirected by John Buckingham

SERGEANT: (Male – any age). A composite creation (derived from the character in I.I., and others). Macbeth exploits this soldier’s loyalty in repeated murders. Broken and fearful with the slaughter, he is mocked by Macbeth and kills himself during the final battle. His enhanced character arc extends the tragedy to include Macbeth’s followers.

Actors playing the following will double at least two roles:

THREE WITCHES: They inhabit and possibly control events in both the physical and metaphysical worlds, but they also embody a meta-theatrical theme, existing both inside and outside the play. Inspired by the Japanese Kuroko, the black clad scene shifters in Kabuki plays, they will be omnipresent. Each witch will also take on the role of at least one other character but, significantly, they are enacting the role of actors playing the roles of witches. Movement work will be a key component of the witches’ brief.

The three witch actors could be differentiated by age.

FIRST WITCH: A woman in her prime; confidant of her status and good looks; occasionally, bridling under the authority of the Second Witch and peeved by the immaturity of the Third. In Act 4, she assumes the role of the aristocratic LADY MACDUFF, which is played ‘straight’ as a separate role, with no intimations of a ‘witchy’ undercurrent.

SECOND WITCH: An older woman (traditional ‘crone’ image). Within the theatrical metaphor, she might be regarded as the Stage Manager. The other two frequently defer to her authority. As an alter ego she appears in Act 2 as THE PORTER (re-imagined here as a Stage Doorkeeper).

THIRD WITCH: A young woman/adolescent. Impetuous and excitable. Preferably with boyish physique for doubling the role of FLEANCE, who could be played with a sinister undertone. She also plays the GENTLEWOMAN in 5.1 and 5.5. but probably as the Third Witch herself.

BANQUO: (Early middle-aged male). Thane. Like Macbeth, more warrior than politician. Does friendship outweigh their rivalry? Banquo voices the moral choice facing Macbeth so, in killing him, Macbeth betrays both friendship and conscience. In the second half of the play, he also appears as BANQUO’s GHOST and as the DOCTOR tending lady Macbeth.

ENSEMBLE ACTOR 1 (Older male – playing FOUR MALE ROLES)1. DUNCAN, King of Scotland. In an elective monarchy, he would possess the qualities of

leadership embodied in the great Warrior or great Sage. Duncan also possesses the qualities of a priest or saint, suggesting his murder is an act of sacrilege.

2. OLD MAN, A somewhat sinister figure, probably a monk/priest, who mysteriously appears after Duncan’s death.

3. MURDERER, A malcontent mercenary hired by Macbeth.4. SIWARD, English General. Either stoical or callous regarding the death of his son in battle,

he embodies the feudal concept of a warrior’s duty.

ENSEMBLE ACTOR 2 (Young female playing THREE YOUNG MALES)1. DONALBAIN, Malcolm’s younger brother. A blank page – he can be played as an

innocent or as secretly ambitious and dangerous to his brother as Macbeth is to Duncan. Perhaps significantly, he is absent from Malcolm’s campaign and victory.

2. MACDUFF’S SON. A witty and lively young boy, brutally murdered.3. YOUNG SIWARD. Siward’s son. Idealistic young warrior; his death is emblematic of the

loss of youth in war. Dies in a sword fight with Macbeth.

I will provide printed copies of my Performing Edition for the Reading, along with the Audition speeches. Anyone interested in getting hold of these earlier, or who has any questions, can contact me on [email protected] or 0208 570 5389.

John Buckingham

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mailto:[email protected]

MACBETHMALE AUDITION SPEECHES

MACBETH About to murder his king, sleeping as a guest in his home, Macbeth envisions a dagger.

MACBETHIs this a dagger which I see before me,The handle toward my hand? Come, let me clutch thee.I have thee not, and yet I see thee still.Art thou not, fatal vision, sensibleTo feeling as to sight? or art thou butA dagger of the mind, a false creation,Proceeding from the heat-oppressed brain?I see thee yet, in form as palpableAs this which now I draw.Thou marshall'st me the way that I was going;And such an instrument I was to use.Mine eyes are made the fools o' the other senses,Or else worth all the rest; I see thee still,And on thy blade and dudgeon gouts of blood,Which was not so before. There's no such thing:It is the bloody business which informsThus to mine eyes. Now o'er the one halfworldNature seems dead, and wicked dreams abuseThe curtain'd sleep; witchcraft celebratesPale Hecate's offerings, and wither'd murder,Alarum'd by his sentinel, the wolf,Whose howl's his watch, thus with his stealthy paceWith Tarquin's ravishing strides, towards his designMoves like a ghost. Thou sure and firm-set earth,Hear not my steps, which way they walk, for fearThy very stones prate of my whereabout,And take the present horror from the timeWhich now suits with it. Whiles I threat, he lives:Words to the heat of deeds too cold breath gives.

A bell rings

I go, and it is done; the bell invites me.Hear it not, Duncan; for it is a knellThat summons thee to heaven or to hell.

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Macbeth meets Lady Macbeth outside the room in which he has just murdered Duncan.

MACBETHI have done the deed. Didst thou not hear a noise?

LADY MACBETHI heard the owl scream and the crickets cry.Did not you speak?

MACBETHWhen?

LADY MACBETHNow.

MACBETHAs I descended?

LADY MACBETHAy.

MACBETHHark!Who lies i' the second chamber?

LADY MACBETHDonalbain.

MACBETHThis is a sorry sight.

Looking on his hands

LADY MACBETHA foolish thought, to say a sorry sight.

MACBETHThere's one did laugh in's sleep, and one cried'Murder!'That they did wake each other: I stood and heard them:But they did say their prayers, and address'd themAgain to sleep.

LADY MACBETHThere are two lodged together.

MACBETHOne cried 'God bless us!' and 'Amen' the other;As they had seen me with these hangman's hands.

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Listening their fear, I could not say 'Amen,'When they did say 'God bless us!'

LADY MACBETHConsider it not so deeply.

MACBETHBut wherefore could not I pronounce 'Amen'?I had most need of blessing, and 'Amen'Stuck in my throat.

LADY MACBETHThese deeds must not be thought

After these ways; so, it will make us mad.

MACBETHMethought I heard a voice cry 'Sleep no more!Macbeth does murder sleep', the innocent sleep,Sleep that knits up the ravell'd sleeve of care,The death of each day's life, sore labour's bath,Balm of hurt minds, great nature's second course,Chief nourisher in life's feast,—

LADY MACBETHWhat do you mean?

MACBETHStill it cried 'Sleep no more!' to all the house:'Glamis hath murder'd sleep, and therefore CawdorShall sleep no more; Macbeth shall sleep no more

LADY MACBETHWho was it that thus cried? Why, worthy thane,You do unbend your noble strength, to thinkSo brainsickly of things. Go get some water,And wash this filthy witness from your hand.Why did you bring these daggers from the place?They must lie there: go carry them; and smearThe sleepy grooms with blood.

MACBETHI'll go no more:

I am afraid to think what I have done;Look on't again I dare not.

LADY MACBETHInfirm of purpose!

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Give me the daggers: the sleeping and the deadAre but as pictures: 'tis the eye of childhoodThat fears a painted devil. If he do bleed,I'll gild the faces of the grooms withal;For it must seem their guilt.

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MALCOLM Talking to Macduff in England, Malcolm overcomes his fears and retracts his earlier protestations of his unsuitability to wear the Crown of Scotland.

MALCOLMMacduff, this noble passion,Child of integrity, hath from my soulWiped the black scruples, reconciled my thoughtsTo thy good truth and honour. Devilish MacbethBy many of these trains hath sought to win meInto his power, and modest wisdom plucks meFrom over-credulous haste: but God aboveDeal between thee and me! for even nowI put myself to thy direction, andUnspeak mine own detraction, here abjureThe taints and blames I laid upon myself,For strangers to my nature. I am yetUnknown to woman, never was forsworn,Scarcely have coveted what was mine own,At no time broke my faith, would not betrayThe devil to his fellow and delightNo less in truth than life: my first false speakingWas this against myself: what I am truly,Is thine and my poor country's to command:

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MACDUFF Macduff has just been told that Macbeth has murdered his whole family.

MACDUFFHe has no children. All my pretty ones?Did you say all? O hell-kite! All?What, all my pretty chickens and their damAt one fell swoop?

MALCOLMDispute it like a man.

MACDUFFI shall do so;But I must also feel it as a man:I cannot but remember such things were,That were most precious to me. Did heaven look on,And would not take their part? Sinful Macduff,They were all struck for thee! naught that I am,Not for their own demerits, but for mine,Fell slaughter on their souls. Heaven rest them now!

MALCOLMBe this the whetstone of your sword: let griefConvert to anger; blunt not the heart, enrage it.

MACDUFFO, I could play the woman with mine eyesAnd braggart with my tongue! But, gentle heavens,Cut short all intermission; front to frontBring thou this fiend of Scotland and myself;Within my sword's length set him; if he 'scape,Heaven forgive him too.

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ROSS Ross has fled Scotland for England, He tells Macduff that his family has been murdered

ROSS

Alas, poor country!Almost afraid to know itself. It cannotBe call'd our mother, but our grave; where nothing,But who knows nothing, is once seen to smile;Where sighs and groans and shrieks that rend the airAre made, not mark'd; where violent sorrow seemsA modern ecstasy; the dead man's knellIs there scarce ask'd for who; and good men's livesExpire before the flowers in their caps,Dying or ere they sicken.

Let not your ears despise my tongue for ever,Which shall possess them with the heaviest soundThat ever yet they heard.

Your castle is surprised; your wife and babesSavagely slaughter'd: to relate the manner,Were, on the quarry of these murder'd deer,To add the death of you.

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LENNOX & ANGUS Lennox muses ironically about Macbeth’s innocence of recent murders. Angus expresses hope that Macduff has fled to join Malcolm in England. Both men pray for change.

LENNOXWho cannot want the thought how monstrousIt was for Malcolm and for DonalbainTo kill their gracious father? damned fact!How it did grieve Macbeth! did he not straightIn pious rage the two delinquents tear,That were the slaves of drink and thralls of sleep?Was not that nobly done? Ay, and wisely too;For 'twould have anger'd any heart aliveTo hear the men deny't. So that, I say,He has borne all things well: and I do thinkThat had he Duncan's sons under his key—As, an't please heaven, he shall not—they should findWhat 'twere to kill a father; so should Fleance.But, peace! for from broad words and 'cause he fail'dHis presence at the tyrant's feast, I hearMacduff lives in disgrace: sir, can you tellWhere he bestows himself?

ANGUSThe noble Malcolm

Lives in the English court, and is receivedOf the most pious Edward. Thither MacduffIs gone to pray the holy king to lend his aidThat, by his help, we may againGive to our tables meat, sleep to our nights,Free from our feasts and banquets bloody knives,Do faithful homage and receive free honours:All which we pine for now: and this reportHath so exasperate the king that hePrepares for some attempt of war.LENNOXSome holy angelFly to the court of England and unfoldHis message ere he come, that a swift blessingMay soon return to this our suffering countryUnder a hand accursed!

ANGUS

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I'll send my prayers with him.SERGEANT An experienced soldier who, despite bleeding from a wound, describes Macbeth’s heroism in the battle to King Duncan.

SERGEANTDoubtful it stood;

As two spent swimmers, that do cling togetherAnd choke their art. The merciless Macdonwald—Worthy to be a rebel, for to thatThe multiplying villanies of natureDo swarm upon him—from the western islesOf kerns and gallowglasses is supplied;And fortune, on his damned quarrel smiling,Show'd like a rebel's whore: but all's too weak:For brave Macbeth—well he deserves that name—Disdaining fortune, with his brandish'd steel,Which smoked with bloody execution,Like valour's minion carved out his passageTill he faced the slave;Which ne'er shook hands, nor bade farewell to him,Till he unseam'd him from the nave to the chaps,And fix'd his head upon our battlements.

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SEYTON Seyton says little but is a sinister presence throughout the play. He is the key agent arranging Macbeth’s murders. Here he reports back to Macbeth.

MACBETHThere's blood on thy face.

SEYTON'Tis Banquo's then.

MACBETH'Tis better thee without than he within.Is he dispatch'd?

SEYTONMy lord, his throat is cut; that I did for him.

MACBETHThou art the best o' the cut-throats: yet he's goodThat did the like for Fleance: if thou didst it,Thou art the nonpareil.

SEYTONMost royal sir,Fleance is 'scaped.

MACBETHThen comes my fit again: I had else been perfect,Whole as the marble, founded as the rock.But Banquo's safe?

SEYTONAy, my good lord: safe in a ditch he bides,With twenty trenched gashes on his head;The least a death to nature.

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DOUBLED ROLESBANQUO / DOCTOR

As Macbeth is crowned, Banquo muses on the witches’ prophecies.

BANQUOThou hast it now: king, Cawdor, Glamis, all,As the weird women promised, and, I fear,Thou play'dst most foully for't: yet it was saidIt should not stand in thy posterity,But that myself should be the root and fatherOf many kings. If there come truth from them—As upon thee, Macbeth, their speeches shine—Why, by the verities on thee made good,May they not be my oracles as well,And set me up in hope? But hush! no more.

The Doctor is disturbed by watching Lady Macbeth’s somnambulist utterings. He speaks to the Gentlewoman attending her.

DOCTORFoul whisperings are abroad: unnatural deedsDo breed unnatural troubles: infected mindsTo their deaf pillows will discharge their secrets:More needs she the divine than the physician.God, God forgive us all! Look after her;Remove from her the means of all annoyance,And still keep eyes upon her. So, good night:My mind she has mated, and amazed my sight.I think, but dare not speak.

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MALE ENSEMBLE ACTORPlays FOUR extremely varied roles:DUNCAN/OLD MAN/MURDERER/SIWARDSurrounded, as he thinks, by loyal friends and family, King Duncan plans to consolidate his victory in battle by announcing his son, Malcolm, as heir to the throne.

DUNCANMy plenteous joys,

Wanton in fulness, seek to hide themselvesIn drops of sorrow. Sons, kinsmen, thanes,And you whose places are the nearest, knowWe will establish our estate uponOur eldest, Malcolm, whom we name hereafterThe Prince of Cumberland; which honour mustNot unaccompanied invest him only,But signs of nobleness, like stars, shall shineOn all deservers. From hence to Inverness,And bind us further to you.

The Old Man talks to Ross about the unnatural atmosphere since Duncan’s murder. The words here are partly interpolated from Ross’s dialogue.

OLD MANThreescore and ten I can remember well:Within the volume of which time I have seenHours dreadful and things strange; but this sore nightHath trifled former knowings.

The heavens, as troubled with man's actThreaten his bloody stage: by the clock, 'tis day,And yet dark night strangles the travelling lamp:Is't night's predominance, or the day's shame,That darkness does the face of earth entomb,When living light should kiss it? Tis unnaturalEven like the deed that’s done.

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A Murderer explains to Macbeth why he’s the right man for the job.

MURDERERI am one, my liege,Whom the vile blows and buffets of the worldHave so incensed that I am reckless whatI do to spite the world.So weary with disasters, tugg'd with fortune,That I would set my life on any chance,To mend it, or be rid on't.

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Siward, the English General learns his son has died in battle.

SIWARDSome must go off: and yet, by these I see,

So great a day as this is cheaply bought.

ROSSYour son, my lord, has paid a soldier's debt:

SIWARDThen he is dead?

ROSSAy, and brought off the field

SIWARDHad he his hurts before?

ROSSAy, on the front.

SIWARDWhy then, God's soldier be he!Had I as many sons as I have hairs,I would not wish them to a fairer death:And so, his knell is knoll'd.

MALCOLMHe's worth more sorrow,And that I'll spend for him.

SIWARDHe's worth no moreThey say he parted well, and paid his score:And so, God be with him!

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MACBETHFEMALE AUDITION SPEECHES

LADY MACBETHLady Macbeth invokes dark forces to assist her in persuading

Macbeth to commit murder.The raven himself is hoarse

That croaks the fatal entrance of DuncanUnder my battlements. Come, you spiritsThat tend on mortal thoughts, unsex me here,And fill me from the crown to the toe top-fullOf direst cruelty! make thick my blood;Stop up the access and passage to remorse,That no compunctious visitings of natureShake my fell purpose, nor keep peace betweenThe effect and it! Come to my woman's breasts,And take my milk for gall, you murdering ministers,Wherever in your sightless substancesYou wait on nature's mischief! Come, thick night,And pall thee in the dunnest smoke of hell,That my keen knife see not the wound it makes,Nor heaven peep through the blanket of the dark,To cry 'Hold, hold!'

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Macbeth meets Lady Macbeth outside the room in which he has just murdered Duncan.

MACBETHI have done the deed. Didst thou not hear a noise?

LADY MACBETHI heard the owl scream and the crickets cry.Did not you speak?

MACBETHWhen?

LADY MACBETHNow.

MACBETHAs I descended?

LADY MACBETHAy.

MACBETHHark!Who lies i' the second chamber?

LADY MACBETHDonalbain.

MACBETHThis is a sorry sight.

Looking on his handsLADY MACBETH

A foolish thought, to say a sorry sight.

MACBETHThere's one did laugh in's sleep, and one cried 'Murder!'That they did wake each other: I stood and heard them:But they did say their prayers, and address'd themAgain to sleep.

LADY MACBETHThere are two lodged together.

MACBETHOne cried 'God bless us!' and 'Amen' the other;As they had seen me with these hangman's hands.Listening their fear, I could not say 'Amen,'When they did say 'God bless us!'

LADY MACBETHConsider it not so deeply.

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MACBETHBut wherefore could not I pronounce 'Amen'?I had most need of blessing, and 'Amen'Stuck in my throat.

LADY MACBETHThese deeds must not be thought

After these ways; so, it will make us mad.

MACBETHMethought I heard a voice cry 'Sleep no more!Macbeth does murder sleep', the innocent sleep,Sleep that knits up the ravell'd sleeve of care,The death of each day's life, sore labour's bath,Balm of hurt minds, great nature's second course,Chief nourisher in life's feast,—

LADY MACBETHWhat do you mean?

MACBETHStill it cried 'Sleep no more!' to all the house:'Glamis hath murder'd sleep, and therefore CawdorShall sleep no more; Macbeth shall sleep no more

LADY MACBETHWho was it that thus cried? Why, worthy thane,You do unbend your noble strength, to thinkSo brainsickly of things. Go get some water,And wash this filthy witness from your hand.Why did you bring these daggers from the place?They must lie there: go carry them; and smearThe sleepy grooms with blood.

MACBETHI'll go no more:

I am afraid to think what I have done;Look on't again I dare not.

LADY MACBETHInfirm of purpose!

Give me the daggers: the sleeping and the deadAre but as pictures: 'tis the eye of childhoodThat fears a painted devil. If he do bleed,I'll gild the faces of the grooms withal;For it must seem their guilt.

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MALCOLM I have included Malcolm as a potential role for male or female actors.Talking to Macduff in England, Malcolm overcomes his fears and retracts his earlier protestations of his unsuitability to wear the Crown of Scotland.

MALCOLM

Macduff, this noble passion,Child of integrity, hath from my soulWiped the black scruples, reconciled my thoughtsTo thy good truth and honour. Devilish MacbethBy many of these trains hath sought to win meInto his power, and modest wisdom plucks meFrom over-credulous haste: but God aboveDeal between thee and me! for even nowI put myself to thy direction, andUnspeak mine own detraction, here abjureThe taints and blames I laid upon myself,For strangers to my nature. I am yetUnknown to woman, never was forsworn,Scarcely have coveted what was mine own,At no time broke my faith, would not betrayThe devil to his fellow and delightNo less in truth than life: my first false speakingWas this against myself: what I am truly,Is thine and my poor country's to command:

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DOUBLED ROLESTHE THREE WITCHES

First WitchThrice the brinded cat hath mew'd.

Second WitchThrice and once the hedge-pig whined.

Third WitchHarpier cries 'Tis time, 'tis time.

First WitchRound about the cauldron go;In the poison'd entrails throw.Toad, that under cold stoneDays and nights has thirty-oneSwelter'd venom sleeping got,Boil thou first i' the charmed pot.

ALLDouble, double toil and trouble;Fire burn, and cauldron bubble.

Second WitchFillet of a fenny snake,In the cauldron boil and bake;Eye of newt and toe of frog,Wool of bat and tongue of dog,Adder's fork and blind-worm's sting,Lizard's leg and owlet's wing,

ALLDouble, double toil and trouble;Fire burn and cauldron bubble.

Third WitchScale of dragon, tooth of wolf,Witches' mummy, maw and gulfOf the ravin'd salt-sea shark,Root of hemlock digg'd i' the dark,

ALLDouble, double toil and trouble;Fire burn and cauldron bubble.

First WitchCool it with a baboon's blood,

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Then the charm is firm and good.

Second WitchBy the pricking of my thumbs,Something wicked this way comes.Open, locks,Whoever knocks!

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FIRST WITCH/LADY MACDUFFApparently deserted by her husband, who has fled to England, Lady Macduff gently and playfully introduces the new reality to their son.

LADY MACDUFFWisdom! to leave his wife, to leave his babes,His mansion and his titles in a placeFrom whence himself does fly? He loves us not;He wants the natural touch: for the poor wren,The most diminutive of birds, will fight,Her young ones in her nest, against the owl.All is the fear and nothing is the love;As little is the wisdom, where the flightSo runs against all reason.Sirrah, your father's dead;And what will you do now? How will you live?

SonAs birds do, mother

My father is not dead, for all your saying.

LADY MACDUFFYes, he is dead; how wilt thou do for a father?

SonNay, how will you do for a husband?

LADY MACDUFFWhy, I can buy me twenty at any market.

SonWas my father a traitor, mother?

LADY MACDUFFAy, that he was.

SonWhat is a traitor?

LADY MACDUFFWhy, one that swears and lies.

SonAnd be all traitors that do so?

LADY MACDUFFEvery one that does so is a traitor, and must be hanged.

Son

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And must they all be hanged that swear and lie?

LADY MACDUFFEvery one.

SonWho must hang them?

LADY MACDUFFWhy, the honest men.

SonThen the liars and swearers are fools,for there are liars and swearers enow to beatthe honest men and hang up them.

LADY MACDUFFNow, God help thee, poor monkey!

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SECOND WITCH/ PORTERThe Porter is probably drunk and engages in a bit of direct audience address.

Porter

Here's a knocking indeed! If aman were porter of hell-gate, he should haveold turning the key.

Knocking withinKnock,knock, knock! Who's there, i' the name ofBeelzebub? Here's a farmer, that hangedhimself on the expectation of plenty: come intime; have napkins enow about you; hereyou'll sweat for't.

Knocking withinKnock,knock! Who's there, in the other devil'sname? Faith, here's an equivocator, that couldswear in both the scales against either scale;who committed treason enough for God's sake,yet could not equivocate to heaven: O, comein, equivocator.

Knocking withinKnock,knock, knock! Who's there? Faith, here's anEnglish tailor come hither, for stealing out ofa French hose: come in, tailor; here you mayroast your goose.

Knocking withinKnock,knock; never at quiet! What are you? Butthis place is too cold for hell. I'll devil-porterit no further: I had thought to have let insome of all professions that go the primroseway to the everlasting bonfire.

Knocking within

Anon, anon! I pray you, remember the porter.

Opens the gate

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THIRD WITCH/FLEANCE/ GENTLEWOMANThere is insufficient dialogue for either FLEANCE or the GENTLEWOMAN to use for an audition. As a means of assessing the playing the role of a young boy, candidates should use the dialogue above for MACDUFF’S SON with LADY MACDUFF

FEMALE ENSEMBLE ACTOREnacting THREE young male roles:DONALBAIN/MACDUFF’S SON/YOUNG SIWARDAlthough these roles all have a substantial stage appearance, and include a vital sword fight, there is insufficient dialogue for either DONALBAIN or YOUNG SIWARD. The dialogue for MACDUFF’S SON/ with LADY MACDUFF is reproduced above.

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