Unquestionably and unequivocally an Edinburgh Reporter Fringe must-see.
Being all things the antithesis of a society hostess, Lady MacBeth, a mother grieving for her lost infant, invokes Satanic succor to commit regicide by displacement proxy. Subsequently goes insane. Finally commits suicide. Thus, in the Scottish Play, her candle burns fiercely but briefly.
...one of this piece’s achievements is its ability to convey cataclysmic social change through the powers of a single actress...
Lady M is a dynamic Shakespearean re-interpretation aimed at rehabilitating Lady Macbeth’s serving-woman – who, as the play resentfully underlines, appears in only one scene of the original Macbeth. This one-woman piece seesaws between frenetically physical acting on the part of its performer,
One thing is for certain after having watched this – one scene certainly was not enough.
What would you do if Shakespeare only gave you one scene to express yourself? Lady M is the tale of Macbeth – only this time, from the perspective of a chambermaid. Annemarie de Bruijn, as the Chambermaid, carries the weight of the world on her shoulders as she discovers the death of the king at the hands of Macbeth; she also carries the plays unbounded energy and holds the attention of the audience - despite being in an auditorium which appears to be the hottest place on Earth.
A Skittish Play
This is Macbeth as you’ve never seen it before, through the eyes of Lady Macbeth’s surprisingly up-beat lady-in-waiting (de Bruijn). Reduced to a single scene by Shakespeare, she is very welcoming towards the audiences who have come to hear her side of the story.
...captivating and truly impressive...
Annemarie de Bruijn’s Lady M for Netherlands’ Het Vijfde Bedrijf (The Fifth Act) is – to use that oft-used phrase – a ‘tour de force’. Written and performed by the actress, this is an entertaining and mesmerising showcase for her cheeky charm, concentrated physicality and focused terror.
Stealing the Stage: Lady M
“I do this for all the bit parts!” proclaims Annemarie de Bruijn, with the air of a revolutionary. She certainly resembles one. Striding across the stage, red-haired, ruff-clad and radiating energy, de Bruijn is far more than Lady Macbeth’s mere housemaid – she is definitive of the modern tragic heroine.
Don’t leave Edinburgh without experiencing the ultimate behind-the-scenes look at one of the greatest tragedies ever written.
At the risk of opening my first ever FringeGuru review with a bizarre innuendo: what is it with William Shakespeare’s bit parts? Have the accepted totems of Hamlet, Shylock, Othello et al really been so over-analysed that, to learn more about the plays they inhabit, we must look to the one-or-two-scene wonders in the supporting roles? Dutch theatre company Het Vijfde Bedrijf (The Fifth Act) seem to think so.
Lady M is potentially a really fantastic piece of theatre, and Annemarie de Bruijn a star in the making on this year's fringe.
A brilliantly written piece, powerfully performed, let down by poor direction. History (or in this case Herstory) from below gives a voice to the dispossessed to offer an alternative version of some of Macbeth. Lady M is the maid in waiting who witnesses the dirty deeds that night of Duncan's bloody demise and exacts a different kind of vengeance.
An imaginative translation of the Scottish play that must be the best production C venues has ever hosted.
I’ll admit that on paper the set up of Lady M does sound a little hackneyed, the production a one woman retelling of the tragedy of Macbeth from the point of view of a bit part. Despite this Annemarie De Brujin’s electric performance has allowed for one my most enjoyed hours of theatre at the festival this year, the piece a refined and considered adaptation that sustains engagement and humour.
Only a Dutch company would take as its starting point the Shakespeare play whose name makes theatrical folk go all superstitious. And then, to turn it into a funny-but-tragic one-woman show is nothing if not daring.
I don’t envy the sound operator for this piece, who manages to get every one of the many cues spot on.
When Tom Stoppard wrote Rosencrantz and Guildenstern Are Dead in 1966, his intention was (partly) to give a voice to the oft-forgotten supporting roles. In Lady M, Annemarie de Brujin takes the concept a step further by structuring a piece about bit-parts in Shakespeare, specifically a maid in the Macbeth’s household.
A fun, though jarring production that nonetheless dares to delve deeper
If you have ever skipped to the footnotes, this one-woman show is for you. Dutch performer Anne Marie de Bruijn's sweetly bonkers persona lulls you in, before unravelling right in front of you. It's potent stuff. She poses the question: "Why did Shakespeare give the lady-in-waiting one scene only?"
Well acted and well-written with moments of brilliant comedy...
Fuck Shakespeare’ exclaims Annemarie de Bruijn in this one-woman adaption of the Shakespearean classic Macbeth.