This was my first foreign language Shakespeare, 32 years ago at the Edinburgh Festival. Set in Shogun period Japan at cherry blossom time, it blew me away and kick-started an interest which has led to 38 Shakespeare productions in 31 languages, boosted by the wondrous Globe to Globe festival in 2012. Seven of them were in Japanese, six directed by the late, great Yukio Ninagawa whose work this is, back in London after 30 years.
It’s hard to explain why the play feels so right in this setting. Perhaps it’s the similarity of two warrior races almost at opposite ends of the planet. Shakespeare’s story works so well with emphatic acting and stressed and distressed dialogue Japanese style. Above all though it’s the visual imagery, every scene a feast for the eyes with a stunning black, red and gold design, sumptuous costumes and of course all that cherry blossom. The stylised battles are brilliant, Lady Macbeth’s madness feels authentic, the murder of Lady Macduff and her children is devastating, Macduff and Malcolm’s determination on revenge intense and Macbeth’s tyranny all consuming.
There’s a Western classical, mostly choral and vocal, soundtrack which you might expect to be incongruous, but works brilliantly, haunting and beautiful. The witches played by men kabuki-style and the human horses aren’t comic at all. The performances are passionate, many larger than life, some more subtle. It’s rare to see the same production so many years apart, but doing so demonstrates it’s timelessness, serving the play so well, a classic production of a classic play.
At the second curtain call, a picture of Ninagawa in front of one of the design’s iconic features appeared above the actors. What a wonderful tribute and memorial this is. I feel privileged and blessed.
Gareth's Culture and Travel Blog 
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