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Macbeth
Macbeth: A Novel brings the intricacy and grit of the historical thriller to Shakespeare’s tale of political intrigue, treachery, and murder. In this full-length novel written exclusively for audio, authors A. J. Hartley and David Hewson rethink literature’s most infamous married couple, grounding them in a medieval Scotland whose military and political upheavals are as stark and dramatic as the landscape on which they are played.
Macbeth is a war hero and a patriot, doing everything in his power to hold together Duncan’s crumbling kingdom, which is beset by sedition from within and with threats from overseas. But when Duncan, contrary to ancient Scottish tradition, turns to building a family dynasty instead of rewarding those who have borne the brunt of the fighting, Macbeth and his powerful wife, Skena, make plans of their own, plans designed to hold both the nation and their strained relationship together. Sinister figures who claim supernatural knowledge spur them on, but the terrible outcome is as much about accident and failure as it is malevolence. Soon Macbeth and his wife find themselves preeminent in all the land, but struggling to hold themselves and their country together as former friends turn into bitter and deadly enemies.
This is Macbeth as you have not heard it before: fresh, edgy, and vital. It is a story of valor in battle, whispering in shadows, witchcraft in the hollows of an ancient landscape, and the desperate struggle of flawed people to do what they think is right.
ABOUT THE AUTHORS
A. J. Hartley, a professor of Shakespeare at the Univ. of North Carolina-Charlotte, is the author of the “Will Hawthorne” fantasy series as well as several thrillers.
David Hewson is the best-selling author of 16 novels, including the Rome-based “Nic Costa” crime series.
ABOUT THE NARRATOR
Alan Cumming stars in CBS's The Good Wife, for which he received an Emmy nomination, and is the host of PBS’s Masterpiece Mystery. He was honored with the 2011 Audie Award for Best Male Narrator.
The Irish folk song “She Moved Through the Fair” is performed by Heather O'Neil of the Irish Repertory Theater.
Macbeth is a war hero and a patriot, doing everything in his power to hold together Duncan’s crumbling kingdom, which is beset by sedition from within and with threats from overseas. But when Duncan, contrary to ancient Scottish tradition, turns to building a family dynasty instead of rewarding those who have borne the brunt of the fighting, Macbeth and his powerful wife, Skena, make plans of their own, plans designed to hold both the nation and their strained relationship together. Sinister figures who claim supernatural knowledge spur them on, but the terrible outcome is as much about accident and failure as it is malevolence. Soon Macbeth and his wife find themselves preeminent in all the land, but struggling to hold themselves and their country together as former friends turn into bitter and deadly enemies.
This is Macbeth as you have not heard it before: fresh, edgy, and vital. It is a story of valor in battle, whispering in shadows, witchcraft in the hollows of an ancient landscape, and the desperate struggle of flawed people to do what they think is right.
ABOUT THE AUTHORS
A. J. Hartley, a professor of Shakespeare at the Univ. of North Carolina-Charlotte, is the author of the “Will Hawthorne” fantasy series as well as several thrillers.
David Hewson is the best-selling author of 16 novels, including the Rome-based “Nic Costa” crime series.
ABOUT THE NARRATOR
Alan Cumming stars in CBS's The Good Wife, for which he received an Emmy nomination, and is the host of PBS’s Masterpiece Mystery. He was honored with the 2011 Audie Award for Best Male Narrator.
The Irish folk song “She Moved Through the Fair” is performed by Heather O'Neil of the Irish Repertory Theater.
329 pages, Audible Audio
First published June 11, 2011
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Displaying 1 - 30 of 396 reviews
November 5, 2020
If you like Shakespeare and if you enjoy audiobooks, this is a must listen! I rate books by their written content, but this one is an exception; here I am rating the audiobook. As a finished product, it is excellent. You are not getting a book that happens to be read, but a production that is made to be narrated. Alan Cumming’s Scottish narration is absolutely perfect. The story is set in Scotland. Quite simply, what I am saying is that I do not think you should read this; you should listen to the audiobook. I think if you are unaccustomed to audiobooks, here is one to start with. You get Shakespeare in a delightful format. Seriously, I think just about everyone will enjoy this.
I liked this even more than the authors' Hamlet, Prince of Denmark: A Novel. That is narrated by Richard Armitage, and it sounds wrong with Danes speaking with an English accent, using English expressions!
Now to the content. There are some changes made from Shakespeare's play, the most central being that you look at the psychological underpinnings of Macbeth's dilemma. Why people do what they do intrigues me. What is altered is clarified in the introduction by David Hewson and the afterword by A.J. Harley. Since Shakespeare has been rewritten and reinterpreted by every generation, I readily accept one more retelling. This is a retelling that speaks to people of our times. It certainly spoke to me. The witches were simply marvelous. The supernatural, the magical, is redone in a manner that is philosophical and humorous.
The authors' have included the play’s famous original lines. My response was, "Oh wow, those are great lines!” What is delivered is a tragedy that speaks to us today. There is a love story and revenge and drama. War and the fight for power. The telling is very atmospheric. You see the heaths, the gorse and the crags. The cold clammy tempests and the howling winds. The telling is macabre and malevolent, violent and bloody, but oh so human.
Do me a favor. Try this. It’s so much fun.
I liked this even more than the authors' Hamlet, Prince of Denmark: A Novel. That is narrated by Richard Armitage, and it sounds wrong with Danes speaking with an English accent, using English expressions!
Now to the content. There are some changes made from Shakespeare's play, the most central being that you look at the psychological underpinnings of Macbeth's dilemma. Why people do what they do intrigues me. What is altered is clarified in the introduction by David Hewson and the afterword by A.J. Harley. Since Shakespeare has been rewritten and reinterpreted by every generation, I readily accept one more retelling. This is a retelling that speaks to people of our times. It certainly spoke to me. The witches were simply marvelous. The supernatural, the magical, is redone in a manner that is philosophical and humorous.
The authors' have included the play’s famous original lines. My response was, "Oh wow, those are great lines!” What is delivered is a tragedy that speaks to us today. There is a love story and revenge and drama. War and the fight for power. The telling is very atmospheric. You see the heaths, the gorse and the crags. The cold clammy tempests and the howling winds. The telling is macabre and malevolent, violent and bloody, but oh so human.
Do me a favor. Try this. It’s so much fun.
May 22, 2018
Who would you choose to narrate this novelization of Macbeth if you had your druthers*? Why Alan Cummings, of course! Who else could pronounce the word "crennalated" with the same Scottish panache? This is my favorite narration of the year.
What does a novelization of this well known Shakespeare play offer that makes it worthwhile? For me, the details of places in Scotland brought it alive - the Cairngorms, and the Grampian ranges, the inhospitable weather, the yearning of characters for the landscapes they love. The vivid, and over-detailed descriptions of the (many) murders, combat and battles were almost too much, but this is Macbeth and not A Midsummer Night's Dream. Macbeth is the fourth most violent tragedy with 8 bodies, coming in after Hamlet. But listening to the novelization, there are many bodies by the end of the final battle. Blood and gore indeed. As one webpage I saw stated, Macbeth gives Game of Thrones a run for its money. I have only seen Macbeth performed once, but references to the play are ubiquitous. I have always had the impression that Lady Macbeth was the instigator of much of the violence, yet in the novel, Macbeth certainly comes off as the most culpable.
I have many literary friends who are big Shakespeare fans. One even has an important position at the Folger Library in Washington DC. But I am not afraid to tell them that I'm not a Shakespeare devotee. I have seen performances I thoroughly enjoyed here in Washington of A Winter's Tale, and others that fell flat of Hamlet and Macbeth. But this novel with its rich description and narrative was a great read.
*This is an American phrase and not used widely elsewhere. People elsewhere in the world might want to know what druthers are, as the phrase conveys otherwise. Druthers is a shortening of 'would rathers'. The phrase originated in the late 19th century and is first cited in the January 1870 edition of Overland monthly and Out West magazine, in a story called Centrepole Bill, by George F. Emery...
https://www.phrases.org.uk/meanings/1...
What does a novelization of this well known Shakespeare play offer that makes it worthwhile? For me, the details of places in Scotland brought it alive - the Cairngorms, and the Grampian ranges, the inhospitable weather, the yearning of characters for the landscapes they love. The vivid, and over-detailed descriptions of the (many) murders, combat and battles were almost too much, but this is Macbeth and not A Midsummer Night's Dream. Macbeth is the fourth most violent tragedy with 8 bodies, coming in after Hamlet. But listening to the novelization, there are many bodies by the end of the final battle. Blood and gore indeed. As one webpage I saw stated, Macbeth gives Game of Thrones a run for its money. I have only seen Macbeth performed once, but references to the play are ubiquitous. I have always had the impression that Lady Macbeth was the instigator of much of the violence, yet in the novel, Macbeth certainly comes off as the most culpable.
I have many literary friends who are big Shakespeare fans. One even has an important position at the Folger Library in Washington DC. But I am not afraid to tell them that I'm not a Shakespeare devotee. I have seen performances I thoroughly enjoyed here in Washington of A Winter's Tale, and others that fell flat of Hamlet and Macbeth. But this novel with its rich description and narrative was a great read.
*This is an American phrase and not used widely elsewhere. People elsewhere in the world might want to know what druthers are, as the phrase conveys otherwise. Druthers is a shortening of 'would rathers'. The phrase originated in the late 19th century and is first cited in the January 1870 edition of Overland monthly and Out West magazine, in a story called Centrepole Bill, by George F. Emery...
https://www.phrases.org.uk/meanings/1...
November 15, 2011
As intimidating as he can be, I love Shakespeare and have since I first read Romeo and Juliet. While I have felt I never really understood all of his writing, his words and use of the English language were worth reading or listening to just for their own sake. For this reason, I had my doubts about reading/listening to this book. I mean how can you improve on Shakespeare for god's sake. Well I was not disappointed. This is one incredible book and made even better in audio-form by Audible.
This psychological drama was first made clearer to me when I first listened to another Audible selection, SmartPass Plus Audio Education Study Guide to Macbeth. This is one in a series of selections by Smartpass where a number of classics are read or really dramatized by actors and commented upon along the way. The second half of the audiobook is read without interruption. If you want to better understand the classics I cannot recommend these audiobooks more highly. They're terrific.
With regard to this new treatment, this novel, I have to say the same. It is riveting. This is one of those books where you sit in your driveway way too long after arriving home just to keep listening. The narration does justice to the work itself. Not only will you love the words, you will love how they are spoken. For me, this was one of the best books of the year and more.
This psychological drama was first made clearer to me when I first listened to another Audible selection, SmartPass Plus Audio Education Study Guide to Macbeth. This is one in a series of selections by Smartpass where a number of classics are read or really dramatized by actors and commented upon along the way. The second half of the audiobook is read without interruption. If you want to better understand the classics I cannot recommend these audiobooks more highly. They're terrific.
With regard to this new treatment, this novel, I have to say the same. It is riveting. This is one of those books where you sit in your driveway way too long after arriving home just to keep listening. The narration does justice to the work itself. Not only will you love the words, you will love how they are spoken. For me, this was one of the best books of the year and more.
August 15, 2012
I like the idea of this, turning Macbeth into a novel, and in some respects, I thought the authors did an excellent job. Specifically, the way a novel can supply so much more about a character than a play allowed them to make the story really plausible. The Shakespeare tragedies often leave me feeling that no-one would act as their tragic heroes do, no-one be so gullible, or so blind, or so foolish. In this version, the Macbeths are quite ordinary people, with thwarted ambitions of non-pathological dimensions, who embark on the events of the story for good reasons and whose descent into the morass in which they end up is believable and, yes, really tragic.
In fact, when reading it, and thinking how I would describe the book's relation to the play, I thought one way to put it would be to say that the novel gives the events play plus the psychology of the characters. But then I imagined the reaction. Do I mean that Shakespeare, the very inventer of the modern self if Bloom is to be believed (is it Bloom?), doesn't provide us with psychology? Well, I need to re-read the play in the light of these thoughts, but I have to say that, in some sense, he doesn't. As I indicated above, I don't find the tragic heroes plausible as real people. There is some element, in their representation, of theatre's more ancient and formulaic roots.
Anyway, for all this virtue, the novel is, at the end of the day, a bit dull. With such a cracking story, and such a well-spring of wonderful language to echo, it was just too flat, too prosaic.
In fact, when reading it, and thinking how I would describe the book's relation to the play, I thought one way to put it would be to say that the novel gives the events play plus the psychology of the characters. But then I imagined the reaction. Do I mean that Shakespeare, the very inventer of the modern self if Bloom is to be believed (is it Bloom?), doesn't provide us with psychology? Well, I need to re-read the play in the light of these thoughts, but I have to say that, in some sense, he doesn't. As I indicated above, I don't find the tragic heroes plausible as real people. There is some element, in their representation, of theatre's more ancient and formulaic roots.
Anyway, for all this virtue, the novel is, at the end of the day, a bit dull. With such a cracking story, and such a well-spring of wonderful language to echo, it was just too flat, too prosaic.
July 19, 2021
Audible had a sale a little while ago in which ten editors each chose ten books to sell for $4.95. I got the email saying "books from your wishlist are on sale!" but the link didn't take me to any of them, so I ended up clicking through the ten pages to see what was out there. And when I landed on one page that featured Macbeth: A Novel and hailed it as "The Perfect Audiobook", I closed the tab without looking further. If this person thinks that is the perfect audiobook, our tastes are clearly incompatible.
"Inspired by 'The Bard'" + "written exclusively for audio" + "Alan Cumming narrating" – yes, these are the reasons it should have been great. How could it go wrong?
In so many ways. In so, so many ways.
You may have heard the saying "If it ain't broke, don't fix it"? The Scottish play really was not broken. But, boy did A.J. Hartley and David Hewson feel they needed to "fix" it. By "fix", meaning "reword the language that has endured and flourished for over four hundred years and add superfluous information"… There's got to be a better way to morph a play into a novel.
Take the wyrd sisters' first prophecies:
First Witch: All hail, Macbeth! hail to thee, thane of Glamis!
Second Witch: All hail, Macbeth, hail to thee, thane of Cawdor!
Third Witch: All hail, Macbeth, thou shalt be king hereafter!
They say little more than that, and then are gone, leaving upheaval as if they'd hurled a boulder into a still pond. There's nothing more needed. Yet these authors felt the need to put more in. A bunch more. They broke up the rhythm of Shakespeare's words, and padded the hell out of the scene, and … why? Don't get me wrong – it's a fine, fun idea, the novelization of Shakespeare; obviously, I was intrigued – I bought it. I listened to [part of] it. But it feels like all opportunities are completely missed. There's nothing new here.
The same holds true of Duncan's choice to declare an heir. Especially when the actor in the role fills the bill, the scene in the play is powerful. Throwing more and more words at it just dilutes it. The converse is also true – I realized that a couple of passages from the play actually use more words than these authors, and their editing resulted in a dumbing down.
Shakespeare used verse very specifically. To take a passage he related in verse and hammer it down into the prosiest of prose, without in any other way ramping up the drama of the moment, leaves it toothless.
I've read a handful of adaptations of Jane Austen, swiveled POV's and whatnot, and the main problem most of these pose is that the new writer's writing is placed in direct comparison to Jane's, much to the present–day writer's detriment. It takes a certain amount of skill to handle a retelling or expansion while avoiding the comparison. And if comparison to Jane is hazardous, how bad an idea is it to hold your writing up against … William Shakespeare's? I mean … William bloody Shakespeare.
Example time:
HIS: I go, and it is done; the bell invites me.
Hear it not, Duncan; for it is a knell
That summons thee to heaven or to hell.
THEIRS: "Sleep tight, Duncan," he thought, "for this is a knell that summons you to heaven … or to hell."
("Sleep tight"? Really?)
HIS: First Witch: Lesser than Macbeth, and greater.
Second Witch: Not so happy, yet much happier.
Third Witch: Thou shalt get kings, though thou be none:
So all hail, Macbeth and Banquo!
THEIRS: "Tragic in the present yet glorious in the future…You shall beget kings, though never reign yourself"
HIS: …Had he not resembled
My father as he slept, I had done't.
THEIRS: "I could have done the deed. I will if need be."
Shakespeare did a damn fine job getting the points across: for example, that Macbeth adores his wife. These guys seem to think no reader will ever get that without being beaten about the head with it.
So that was the language as compared to the original. If you're going to do a takeoff on Shakespeare, brace yourself for the fact that you will be compared (unfavorably) to Shakespeare. The writing in and of itself is not impressive, even without that contrast.
There's a good and solid reason Shakespeare didn't show Macbeth murdering Duncan. It's not necessary. It has more impact offstage. The same goes for Lady M's followup; the same goes for Malcolm and Donalbain realizing they've been set up; the same goes for … oh, just about every scene added. It's padding. It all serves to emphasize how lean and pared down the play is. The shortest of Shakespeare's plays, it says what it needs to and – no more.
As for the content … They placed a very large order with Captain Obvious, and another with Anachronisms R Us. There may have been four-poster beds in Scotland around the year 1000, but – put it this way: I don't trust the authors, so I automatically doubt anything that seems even slightly off. They mention a "sideshow prop"; according to the etymology website I usually refer to, "sideshow" dates to 1855. Someone tells someone "Don't look so glum": from Middle English gloumen (v.) "become dark" (c.1300).
The authors also received a substantial delivery from the Cliché Closet – "The quiet before the storm" "snatching victory from the jaws of defeat" – and these are not, afaik, sayings Shakespeare came up with. ("Victory" seems to date from the 1800's.) Macbeth: "A man of the people!"
This Duncan is a cross between Shakespeare's vision (who was necessarily saintly, due to James VI) and the historical image – corrupt and selfish and swiving with a veneer of holiness. Oh, look, he just raped a 12-year-old girl. These authors didn't seem to want anyone in the play to be worth the air they breathe. I'm not fond of the idea of not liking Banquo. And I don't like this Banquo. Part of the power of the play is that Banquo, a good and honest man and a dear old friend of Macbeth's, is a sacrifice to the situation. The clarity of it, the straightforwardness of it, is important. And Macduff's wife is a shrew? Wonderful idea. Oh, AND Malcolm and Donalbain are "little liked", and "vicious, striving younger versions of their father". Malcolm is a sadist who tortured Cawdor. So… Maccers is the hero, eh?
The attack on the Vikings right at the beginning, killing them basically in their sleep, sets the stage for Duncan's fate. What's hilarious is that Macbeth is made to say, "I've never murdered a sleeping man before, let alone a king." *tugs on Maccers's sleeve* Uh, yer thaneship? Vikings? Belladonna? Hellloooo?
What is this with "picking apples straight off the tree", as if it was something unusual and only found in exotic places? Apples grew in Scotland. There wasn't just this one miraculous tree around. And what is this with using the little boy Ewen to poison the guards?! That's horrible. The kid is smart – you don't think he's going to put two and two together? And then, when he becomes an accidental victim: "The child was not your fault" – uh, yeah he was. Entirely. "Hey, kid, see this wine? It's the most awesomest wine there ever was! It's wonderful! It's liquid sunshine! It's magical! You can't have any!" Yeah, never saw that coming.
"It was the shriek of a woman, loud and anguished" – way to dilute the impact of the "cries of women" later. Woops, there goes Lady Macbeth, humming a little tune and scrubbing at her hands. Oh please.
Lady M is given a name. So, if Lady Maccers is Skena ("Skena Macbeth" just … no), what's HIS name? Hm? His wife (even in bed) and his best friend, a friend since childhood, call him simply "Macbeth". Hmph.
The mysterious girl has a tattoo of three salmon in woad on her front. She also has small, perfect, white teeth like a child's. Know how I know this? I was told. Three times. In great, repetitive detail. From her POV, from Macbeth's, and from Lady M's. Three times in two and a half hours. Too much.
If it was just itself, it might be fine; it's hard to tell. The writing isn't dreadful, just … error–ridden. And so very not Shakespeare. Don’t get me wrong: despite what it might sound like above, I wouldn't ever expect Shakespearean quality – just good. Or, you know, adequate. There is no added depth provided for any of the characters, no exploration of a setting only sketched in in the play, no new elements which aren't ludicrous, and the writing is mediocre at best. Basically, there's no reason for this book.
I wanted this not only because it's based on the Bard, and I love Macbeth, but also because of Alan Cumming who is awesome. He was a – no, the major selling point for this book, and he was the only reason I made it as far as I did. ("But it's Alan Cumming!") However … Samhain is pronounced "Sam hane" Oh, Alan Cumming. That hurts, man. (For the record, I've always heard that it was correctly "Sowen", though now I find it should perhaps be "Savahn". (I think it depends on where you're at.) No matter – "Sam Hane" is not correct.)
Altogether dreadful. I only wish I'd listened to it in time to return it on Audible.
"Inspired by 'The Bard'" + "written exclusively for audio" + "Alan Cumming narrating" – yes, these are the reasons it should have been great. How could it go wrong?
In so many ways. In so, so many ways.
You may have heard the saying "If it ain't broke, don't fix it"? The Scottish play really was not broken. But, boy did A.J. Hartley and David Hewson feel they needed to "fix" it. By "fix", meaning "reword the language that has endured and flourished for over four hundred years and add superfluous information"… There's got to be a better way to morph a play into a novel.
Take the wyrd sisters' first prophecies:
First Witch: All hail, Macbeth! hail to thee, thane of Glamis!
Second Witch: All hail, Macbeth, hail to thee, thane of Cawdor!
Third Witch: All hail, Macbeth, thou shalt be king hereafter!
They say little more than that, and then are gone, leaving upheaval as if they'd hurled a boulder into a still pond. There's nothing more needed. Yet these authors felt the need to put more in. A bunch more. They broke up the rhythm of Shakespeare's words, and padded the hell out of the scene, and … why? Don't get me wrong – it's a fine, fun idea, the novelization of Shakespeare; obviously, I was intrigued – I bought it. I listened to [part of] it. But it feels like all opportunities are completely missed. There's nothing new here.
The same holds true of Duncan's choice to declare an heir. Especially when the actor in the role fills the bill, the scene in the play is powerful. Throwing more and more words at it just dilutes it. The converse is also true – I realized that a couple of passages from the play actually use more words than these authors, and their editing resulted in a dumbing down.
Shakespeare used verse very specifically. To take a passage he related in verse and hammer it down into the prosiest of prose, without in any other way ramping up the drama of the moment, leaves it toothless.
I've read a handful of adaptations of Jane Austen, swiveled POV's and whatnot, and the main problem most of these pose is that the new writer's writing is placed in direct comparison to Jane's, much to the present–day writer's detriment. It takes a certain amount of skill to handle a retelling or expansion while avoiding the comparison. And if comparison to Jane is hazardous, how bad an idea is it to hold your writing up against … William Shakespeare's? I mean … William bloody Shakespeare.
Example time:
HIS: I go, and it is done; the bell invites me.
Hear it not, Duncan; for it is a knell
That summons thee to heaven or to hell.
THEIRS: "Sleep tight, Duncan," he thought, "for this is a knell that summons you to heaven … or to hell."
("Sleep tight"? Really?)
HIS: First Witch: Lesser than Macbeth, and greater.
Second Witch: Not so happy, yet much happier.
Third Witch: Thou shalt get kings, though thou be none:
So all hail, Macbeth and Banquo!
THEIRS: "Tragic in the present yet glorious in the future…You shall beget kings, though never reign yourself"
HIS: …Had he not resembled
My father as he slept, I had done't.
THEIRS: "I could have done the deed. I will if need be."
Shakespeare did a damn fine job getting the points across: for example, that Macbeth adores his wife. These guys seem to think no reader will ever get that without being beaten about the head with it.
So that was the language as compared to the original. If you're going to do a takeoff on Shakespeare, brace yourself for the fact that you will be compared (unfavorably) to Shakespeare. The writing in and of itself is not impressive, even without that contrast.
There's a good and solid reason Shakespeare didn't show Macbeth murdering Duncan. It's not necessary. It has more impact offstage. The same goes for Lady M's followup; the same goes for Malcolm and Donalbain realizing they've been set up; the same goes for … oh, just about every scene added. It's padding. It all serves to emphasize how lean and pared down the play is. The shortest of Shakespeare's plays, it says what it needs to and – no more.
As for the content … They placed a very large order with Captain Obvious, and another with Anachronisms R Us. There may have been four-poster beds in Scotland around the year 1000, but – put it this way: I don't trust the authors, so I automatically doubt anything that seems even slightly off. They mention a "sideshow prop"; according to the etymology website I usually refer to, "sideshow" dates to 1855. Someone tells someone "Don't look so glum": from Middle English gloumen (v.) "become dark" (c.1300).
The authors also received a substantial delivery from the Cliché Closet – "The quiet before the storm" "snatching victory from the jaws of defeat" – and these are not, afaik, sayings Shakespeare came up with. ("Victory" seems to date from the 1800's.) Macbeth: "A man of the people!"
This Duncan is a cross between Shakespeare's vision (who was necessarily saintly, due to James VI) and the historical image – corrupt and selfish and swiving with a veneer of holiness. Oh, look, he just raped a 12-year-old girl. These authors didn't seem to want anyone in the play to be worth the air they breathe. I'm not fond of the idea of not liking Banquo. And I don't like this Banquo. Part of the power of the play is that Banquo, a good and honest man and a dear old friend of Macbeth's, is a sacrifice to the situation. The clarity of it, the straightforwardness of it, is important. And Macduff's wife is a shrew? Wonderful idea. Oh, AND Malcolm and Donalbain are "little liked", and "vicious, striving younger versions of their father". Malcolm is a sadist who tortured Cawdor. So… Maccers is the hero, eh?
The attack on the Vikings right at the beginning, killing them basically in their sleep, sets the stage for Duncan's fate. What's hilarious is that Macbeth is made to say, "I've never murdered a sleeping man before, let alone a king." *tugs on Maccers's sleeve* Uh, yer thaneship? Vikings? Belladonna? Hellloooo?
What is this with "picking apples straight off the tree", as if it was something unusual and only found in exotic places? Apples grew in Scotland. There wasn't just this one miraculous tree around. And what is this with using the little boy Ewen to poison the guards?! That's horrible. The kid is smart – you don't think he's going to put two and two together? And then, when he becomes an accidental victim: "The child was not your fault" – uh, yeah he was. Entirely. "Hey, kid, see this wine? It's the most awesomest wine there ever was! It's wonderful! It's liquid sunshine! It's magical! You can't have any!" Yeah, never saw that coming.
"It was the shriek of a woman, loud and anguished" – way to dilute the impact of the "cries of women" later. Woops, there goes Lady Macbeth, humming a little tune and scrubbing at her hands. Oh please.
Lady M is given a name. So, if Lady Maccers is Skena ("Skena Macbeth" just … no), what's HIS name? Hm? His wife (even in bed) and his best friend, a friend since childhood, call him simply "Macbeth". Hmph.
The mysterious girl has a tattoo of three salmon in woad on her front. She also has small, perfect, white teeth like a child's. Know how I know this? I was told. Three times. In great, repetitive detail. From her POV, from Macbeth's, and from Lady M's. Three times in two and a half hours. Too much.
If it was just itself, it might be fine; it's hard to tell. The writing isn't dreadful, just … error–ridden. And so very not Shakespeare. Don’t get me wrong: despite what it might sound like above, I wouldn't ever expect Shakespearean quality – just good. Or, you know, adequate. There is no added depth provided for any of the characters, no exploration of a setting only sketched in in the play, no new elements which aren't ludicrous, and the writing is mediocre at best. Basically, there's no reason for this book.
I wanted this not only because it's based on the Bard, and I love Macbeth, but also because of Alan Cumming who is awesome. He was a – no, the major selling point for this book, and he was the only reason I made it as far as I did. ("But it's Alan Cumming!") However … Samhain is pronounced "Sam hane" Oh, Alan Cumming. That hurts, man. (For the record, I've always heard that it was correctly "Sowen", though now I find it should perhaps be "Savahn". (I think it depends on where you're at.) No matter – "Sam Hane" is not correct.)
Altogether dreadful. I only wish I'd listened to it in time to return it on Audible.
September 2, 2011
I listened to the audio version of this. Perfect to cook to. I have to say that listening to Alan Cumming use his luscious Scottish accent is really delightful.
I love the approach of revisiting one of Shakespeare's plays, but still making it a new piece of writing. The book accomplishes things the play does not; but it also loses some things. The characters are a little more rounded because we get to live with them a little longer, and understand their reason for doing things. I think, though, that the play loses the sense of a journey of madness like the play achieves. In a novel, the characters' motives are more easily justified and understandable. In the play, you're really caught in the inertia of the characters' bad choices and fate.
Still, I enjoyed listening to this and if they wrote more novels based on Shakespeare's work, I'd read them. It made "Macbeth" a little more accessible. It also peeled back some of the language that we've heard so many times and revealed the tender story within. This is a tale of greed and want and ultimate destruction. The novel reminds us of that.
I love the approach of revisiting one of Shakespeare's plays, but still making it a new piece of writing. The book accomplishes things the play does not; but it also loses some things. The characters are a little more rounded because we get to live with them a little longer, and understand their reason for doing things. I think, though, that the play loses the sense of a journey of madness like the play achieves. In a novel, the characters' motives are more easily justified and understandable. In the play, you're really caught in the inertia of the characters' bad choices and fate.
Still, I enjoyed listening to this and if they wrote more novels based on Shakespeare's work, I'd read them. It made "Macbeth" a little more accessible. It also peeled back some of the language that we've heard so many times and revealed the tender story within. This is a tale of greed and want and ultimate destruction. The novel reminds us of that.
May 31, 2016
Verabschiedet euch von der Vorstellung, Shakespeare sei langwierig und langweilig! Dieses Hörspiel wird euch mitreißen und begeistern! Ein grandioses Hör-Erlebnis, mit brillanten Sprechern, dass dieses Shakespeare Drama zum großartigen Kopfkino macht und Fans begeistern wird. Wer ein Audible-Abo hat, sollte sich dieses Hörspiel nicht entgehen lassen!
November 11, 2017
Great adaptation of Shakespeare's play. Really fleshes out the Macbeths.
November 22, 2018
I hope I have the chance to see the play again soon.
August 1, 2021
Audiobook. 5 stars.
Alan Cumming is brilliant.
Alan Cumming is brilliant.
May 28, 2018
Great narration by Alan Cumming on this expanded version of the "Scottish Play"
I completely enjoyed this in any case, but having Alan Cumming narrate it with a Scottish burr kicked it into 5 star territory for me. Some may not see the point of a novel-sized expansion to Shakespeare's "Scottish Play," but I found Hartley's & Hewson's to be both respectful of the original material and inventive in its enhancements.
There is a whole long prelude of the war with Norwegian King Sweno (actually Svein Knutsson in history) before we even get to Act 1 Scene 1 with the witches on the heath. The witches are portrayed as three very different types ranging from young teenager to crone. Lady Macbeth gets her own name at last ("Skena") and is less the villainess. King Duncan is more of a hideous depraved lecher who is rather deserving of his fate. The porter (with much fewer jokes) doubles as the lead murderer (which is a nice nod to how the actual Shakespearean actor probably had to double up on roles), Banquo's and Fleance's tie in to the later Stewart kings of Scotland is greatly expanded on. etc. etc. Most of the best lines of the play are quoted in their original context, but the borrowing is kept to a minimum.
It all had me researching the historical basis for the characters, cross-checking against the play, and greatly adding to my enjoyment. A very well done job!
I completely enjoyed this in any case, but having Alan Cumming narrate it with a Scottish burr kicked it into 5 star territory for me. Some may not see the point of a novel-sized expansion to Shakespeare's "Scottish Play," but I found Hartley's & Hewson's to be both respectful of the original material and inventive in its enhancements.
There is a whole long prelude of the war with Norwegian King Sweno (actually Svein Knutsson in history) before we even get to Act 1 Scene 1 with the witches on the heath. The witches are portrayed as three very different types ranging from young teenager to crone. Lady Macbeth gets her own name at last ("Skena") and is less the villainess. King Duncan is more of a hideous depraved lecher who is rather deserving of his fate. The porter (with much fewer jokes) doubles as the lead murderer (which is a nice nod to how the actual Shakespearean actor probably had to double up on roles), Banquo's and Fleance's tie in to the later Stewart kings of Scotland is greatly expanded on. etc. etc. Most of the best lines of the play are quoted in their original context, but the borrowing is kept to a minimum.
It all had me researching the historical basis for the characters, cross-checking against the play, and greatly adding to my enjoyment. A very well done job!
December 21, 2020
"Macbeth: a Novel" is a gripping, tense, violent, sexy novel, with battle scenes and brutal butchery, yet also shows a tender relationship between Macbeth and his Lady, named Skena here. This isn't a retelling of the Shakespeare play, according to the authors; it is based on the same sources Shakespeare used, however. But if you look at my notes and highlights, you'll see some nearly direct quotes from Shakespeare and paraphrasings, including my favorite Shakespearean soliloquy, beginning "Tomorrow and tomorrow and tomorrow creeps out this petty pace..." from Act V. The Weird Sisters play a larger, more fleshed out role in this novel, and instead of being creepy like in the play, they are outright sinister and evil. I also enjoyed the notes at the end, telling us the actual history of King Macbeth in Scotland, and how he was grossly maligned by Shakespeare. The authors also give us a taste of the political times in which Shakespeare wrote the play.
Since most of you are familiar w/ the play, I won't rehash the plot line. I will say that I really LOVED this novel, and give it a full five stars. I started reading it to get a long-downloaded book off my Kindle and accomplish my @Goodreads reading goal for the year; I didn't expect to enjoy it SO much. It was a great way to end my reading year!
Since most of you are familiar w/ the play, I won't rehash the plot line. I will say that I really LOVED this novel, and give it a full five stars. I started reading it to get a long-downloaded book off my Kindle and accomplish my @Goodreads reading goal for the year; I didn't expect to enjoy it SO much. It was a great way to end my reading year!
August 23, 2012
Thought this was a great way to read Shakespeare. I read the play in high school but due to the complicated language most of the plot and dialogue went right over my head. If asked what happened in the play I wouldn't have been able to say much more than that there were three witches and Lady Macbeth said the line "Out damn spot." I didn't even know that the play is based on some fact (Macbeth, King Duncan, Banquo et al were real as were some of their actions). Highly recommend this to anyone who wishes they'd paid more attention to Shakespeare during school. I hope the authors do novels for some of the other Shakespeare plays.
May 8, 2012
The authors keep very much to the Shakespearian story in this novel, which makes you wonder what it has to offer. Well, the characters and the storylines are fleshed out making some, such as Lady Macbeth more sympathetic and others, such as the witches, more unsettling. This is a very atmospheric novel - you imagine without any problem the heath, the howling winds, the damp dark weather and the endless wars and violence. Excellent book, with lots of information at the end about who Macbeth really was, how the novel differs from the play, Scottish history, etc.
July 4, 2011
Think you know the tale of Macbeth?
Think again.
This retelling of the tale by David Hewson and A J Hartley is just simply amazing. Bringing a new depth to the story, this is no repeating the original Shakespeare but an inspired reworking, incredibly bought to life by the vocal talents of Alan Cumming.
Think again.
This retelling of the tale by David Hewson and A J Hartley is just simply amazing. Bringing a new depth to the story, this is no repeating the original Shakespeare but an inspired reworking, incredibly bought to life by the vocal talents of Alan Cumming.
December 8, 2015
A great read and fantastic narration by Alan Cumming, this convincing version of Shakespeare’s masterpiece successfully communicates the dark atmosphere and the themes of passion, treachery, murder, ambition and the madness of the original. I will read more books by this author.
A full 4 shiny stars, and possibly even 5. Highly recommended
A full 4 shiny stars, and possibly even 5. Highly recommended
January 6, 2015
‘Macbeth brought down his sword and the army roared into life.’
Duncan’s kingdom is crumbling: beset by sedition internally and overseas threats externally. Macbeth, war hero and patriot, is doing his best to hold the kingdom together. But when Duncan’s thoughts turn towards establishing a hereditary dynasty, contrary to ancient Scots tradition, Macbeth and his wife Skena make their own plans. Encouraged by the weird sisters, they make their own choices. But choices have consequences, and lead Macbeth to other choices which alienate friends and turn them into enemies.
‘I did this, he told himself. I had no choice.’
I read Shakespeare’s play ‘Macbeth’ over forty years ago. Since then I’ve read Dorothy Dunnett’s excellent novel ‘King Hereafter’ as well as ‘Macbeth the King’ by Nigel Tranter. This novel, by A J Hartley and David Hewson is very different from the novels by Dunnett and Tranter: it adds meat to the bones of the play rather than focussing on the historical people. Macbeth’s wife (named Skena in this novel) is unstable because of a personal tragedy, and the weird sisters are even more menacing. And there’s the tragedy of Banquo as well.
‘All hail Macbeth, thou shalt be king hereafter.’
I didn’t realise, until I opened this novel, that it was based on the play. My initial feeling of disappointment didn’t last long: the novel was too good for that. While it will never replace Dorothy Dunnett’s ‘King Hereafter’ as my favourite possible Macbeth, it made me think more about the play. Well worth reading if you’ve ever wondered about the context of the play, and the politics of the time. Sure, you know how it will end. But the struggles between free will and fate, between conscience and ambition are given an entirely different dimension.
‘The wheel is come full circle, said Macbeth.’
Jennifer Cameron-Smith
Duncan’s kingdom is crumbling: beset by sedition internally and overseas threats externally. Macbeth, war hero and patriot, is doing his best to hold the kingdom together. But when Duncan’s thoughts turn towards establishing a hereditary dynasty, contrary to ancient Scots tradition, Macbeth and his wife Skena make their own plans. Encouraged by the weird sisters, they make their own choices. But choices have consequences, and lead Macbeth to other choices which alienate friends and turn them into enemies.
‘I did this, he told himself. I had no choice.’
I read Shakespeare’s play ‘Macbeth’ over forty years ago. Since then I’ve read Dorothy Dunnett’s excellent novel ‘King Hereafter’ as well as ‘Macbeth the King’ by Nigel Tranter. This novel, by A J Hartley and David Hewson is very different from the novels by Dunnett and Tranter: it adds meat to the bones of the play rather than focussing on the historical people. Macbeth’s wife (named Skena in this novel) is unstable because of a personal tragedy, and the weird sisters are even more menacing. And there’s the tragedy of Banquo as well.
‘All hail Macbeth, thou shalt be king hereafter.’
I didn’t realise, until I opened this novel, that it was based on the play. My initial feeling of disappointment didn’t last long: the novel was too good for that. While it will never replace Dorothy Dunnett’s ‘King Hereafter’ as my favourite possible Macbeth, it made me think more about the play. Well worth reading if you’ve ever wondered about the context of the play, and the politics of the time. Sure, you know how it will end. But the struggles between free will and fate, between conscience and ambition are given an entirely different dimension.
‘The wheel is come full circle, said Macbeth.’
Jennifer Cameron-Smith
November 2, 2011
I'm a huge fan of Shakespeare and Macbeth is one of my favorites of his plays. I read it originally in high school and have since seen 5 different productions of it. When I heard that A.J. Hartley (who has written about Shakespeare) and David Hewson had worked on an audio-only novelization, I was cautiously optimistic. When it went on sale at Audible.com, I jumped in.
Hartley and Hewson did a great job at bringing the play to a novel. As Hartley said in the Afterword, they added parts where they felt necessary, drawing from history and the real story of Macbeth. In the novelization, some details are changed from the play. In particular, the witches and their role are significantly more pronounced. I thought that the changes and emphases placed on various aspects of the narrative worked quite well.
If you have any interest in Macbeth and have an Audible credit, this one is worth it. It's about 9 hours and the narration is spot-on. It's narrated by Alan Cumming, a Scottish narrator, which adds to the feeling of the world. Give it a go.
Hartley and Hewson did a great job at bringing the play to a novel. As Hartley said in the Afterword, they added parts where they felt necessary, drawing from history and the real story of Macbeth. In the novelization, some details are changed from the play. In particular, the witches and their role are significantly more pronounced. I thought that the changes and emphases placed on various aspects of the narrative worked quite well.
If you have any interest in Macbeth and have an Audible credit, this one is worth it. It's about 9 hours and the narration is spot-on. It's narrated by Alan Cumming, a Scottish narrator, which adds to the feeling of the world. Give it a go.
August 5, 2012
Four and a half stars. It's an odd idea, really. A novelization of Shakespeare's Scottish Play. And I have to admit that I was a bit skeptical. But I found the book utterly mesmerizing. There is enough of the traditional work here (including many lines of dialogue that will sound oh, so familiar) to keep the reader grounded and satisfied that this is, indeed, Shakespeare's story. But there is the added dimension of seeing action that happens off stage in the play, and having access to the thoughts of key characters as they spiral down into scheming and violence. The authors' treatment of the three weird sisters is particularly compelling. Does all of it work perfectly? Probably not; I might have made some different choices when it came to blending the novel with the original ext. But those are nitpicks. Overall, this is a deeply satisfying work, one that brings something fresh and original to one of my favorite works of The Bard. Highly, highly recommended.
April 26, 2017
Reading this in prose forms has its good points and a bad points. The good news first: You get to see the characters fleshed out and see their inner motivations and find out more about their back story. The bad news: this is one violent tale! The bodies kept piling up. When you hear it in Shakespearean form, there seems to be more levity and also the opportunity to step back from the action as you ponder each turn of phrase. With this prose version it is all right in your face. I found it shockingly well told, but I don't recommend reading it before bed as I often did. Lady Macbeth visited me one night in my dreams. . .
August 8, 2016
I wasn't sure I'd like a re-telling of "The Scottish Play", but this was an incredible listen, made especially great by Alan Cumming's engaging narration. The author of this book, a Shakespeare scholar, has
fleshed out the characters and some of the scenes beyond what is possible in the play. I was reminded how much the prose and the events of this play continue to influence us today. Oh! And that "something wicked this way comes" is uttered by one of the "weird sisters". If you're a Lord of the Rings fan you can't miss the similarities between it and Macbeth.
fleshed out the characters and some of the scenes beyond what is possible in the play. I was reminded how much the prose and the events of this play continue to influence us today. Oh! And that "something wicked this way comes" is uttered by one of the "weird sisters". If you're a Lord of the Rings fan you can't miss the similarities between it and Macbeth.
October 6, 2014
A must for every Macbeth fan! Entirely enthralling in content and narration. The writers give Macbeth and his entourage flesh and bones, taking the play to a grittier level that, at the same time, opens doors to understanding the tragic couples's actions. This is not a descent into madness, but a fatal journey triggered by blind ambition and wrong decisions. Masterful!
October 11, 2013
Seriously amazing. I couldn't put it down. A brilliant piece of evocative writing. The first scene with the witches on the heath is stunning. It's both resonant of the best of Shakespeare but also original. A masterful retelling, highly recommended!
January 11, 2022
I listened to this audio book. Alan Cumming is a fantastic narrator. I like reading (listening) to Shakespeare plays that are turned into novels. It's a good rendition of Macbeth. I just don't like Macbeth.
July 9, 2022
If you stumble across this and think it might make a decent historical novel, you may be disappointed. But if you're desperate to find a faithful but comprehensible novelized version of the play, then this is exactly what you're looking for. So many are under the assumption that one cannot adapt Shakespeare and still have the lyrical language as well as the heart of the original. I urge you to read this and then give an opinion. I don't understand how this is not in every school, everywhere.
In short Macbeth is a story about a loyal friend and loving husband who is told a prophecy that he'll be the ruler of Cawdor. But once that prophecy has come true, with a little temptation from Lady Macbeth, he wants to be the ruler of Scotland and nobody can stand in his way. It is a tale of how power can corrupt even the best-hearted intentions.
This was very well written. It has not been cheapened for entertainment, nor is it pompously literary. It would be an absolutely crucial novel to read for anyone studying the original play. Not only is it a dark and foreboding story that is easily as entertaining as any other historical novel, it paints a vivid character portrait and details that bloody era of Scotland beautifully.
It will challenge most readers, but won't make you want to pull your hair out. If you're familiar with the original play, you know that you have to decipher the language, just to know what's going on. But to say that most people think that novelizing Shakespeare is a crime, this is a powerful argument to the contrary.
In short Macbeth is a story about a loyal friend and loving husband who is told a prophecy that he'll be the ruler of Cawdor. But once that prophecy has come true, with a little temptation from Lady Macbeth, he wants to be the ruler of Scotland and nobody can stand in his way. It is a tale of how power can corrupt even the best-hearted intentions.
This was very well written. It has not been cheapened for entertainment, nor is it pompously literary. It would be an absolutely crucial novel to read for anyone studying the original play. Not only is it a dark and foreboding story that is easily as entertaining as any other historical novel, it paints a vivid character portrait and details that bloody era of Scotland beautifully.
It will challenge most readers, but won't make you want to pull your hair out. If you're familiar with the original play, you know that you have to decipher the language, just to know what's going on. But to say that most people think that novelizing Shakespeare is a crime, this is a powerful argument to the contrary.
October 18, 2016
Rezension ursprünglich veröffentlicht auf www.buecher-monster.de
Der Gedanke an den Namen „William Shakespeare“ dürfte die Leser dieser Welt wohl in zwei Lager teilen: Während die einen den berühmten englischen Dramatiker auch 400 Jahre nach seinem Tod noch verehren und von den legendären Stücken des Lyrikers und ihrer eleganten Sprache nicht genug bekommen können, dürfte die andere Hälfte beim Gedenken an gelbe Reclam-Hefte und unendlich scheinende Stunden der trockenen Textanalyse die Hände über den Kopf zusammenschlagen und sich mit Schaudern an die eigene Schulzeit zurückerinnern. Was wäre aber, wenn man eines der populärsten Stücke Shakespeares, das Drama um den schottischen König Macbeth, einer Frischzellenkur unterziehen und aus den für die einen nach wie vor zeitlosen, für die anderen aber reichlich angestaubten Versen ein bombastisches Epos machen würde und die vier Jahrhunderte alte Vorlage an die heutige Zeit anpasst? Diese Frage hat sich der britische Autor David Hewson, Krimi-Fans vielleicht bekannt durch die der TV-Serie „Kommissarin Lund“ zugrunde liegende Reihe „Das Verbrechen“, gestellt und „Macbeth“ in zwei Stufen in das neue Jahrtausend transportiert: Zunächst brachte Hewson das Stück mit seinem Co-Autor A.J. Hartley unter Einsatz historischer Fakten und einiger schriftstellerischen Freiheiten in Romanform („Macbeth – A Novel“) bevor dieses neue Hörbuchskript von 2011 im Shakespeare-Jahr 2016 nun in Zusammenarbeit mit dem Hörbuchanbieter Audible zu einer fast acht Stunden langen Hörspiel-Fassung weiterentwickelt wurde – und das Ergebnis kann sich mehr als sehen lassen.
“Macbeth” goes “Game of Thrones”
Wer eher Shakespeare-geschädigt aus seiner Schullaufbahn hervorgegangen ist und mit „Macbeth“ in erster Linie zähe Textarbeit und schwierige Sprache verbindet, der wird sich vermutlich schon nach wenigen Minuten die Augen reiben: Plötzlich findet man sich mitten in einem Schlachtfeld im schottischen Hochland wieder und kann dank martialischem Kriegsgeschrei, klirrenden Schwertern und donnerndem Hufgetrappel selbst Kriegsluft schnuppern und den Schweiß und das Blut der aufeinander einstürmenden Männer förmlich riechen. Mit trockenem Englischunterricht hat das Ganze plötzlich nichts mehr zu tun, stattdessen fühlt man sich wie in eine Staffel von “Game of Thrones” hineinversetzt, denn „Macbeth“ bietet auch mehr als 400 Jahre nach der Entstehung immer noch alle Zutaten einer guten Story: einen tragischen Helden, erbitterte Intrigen, blutige Schlachten, Liebe, Habgier, Mord, Rache und den ewig jungen Kampf um Ruhm und Macht.
Aus dem 17. Jahrhundert hinein in die Moderne
Ich möchte mir als Shakespeare-Laie nicht anmaßen, die moderne Hörspielfassung mit dem klassischen Stück zu vergleichen, dafür fehlt mir trotz „Macbeth“-Erfahrung im Schulunterricht einfach die nötige Kenntnis der Originalvorlage, meiner Meinung nach ist es David Hewson und A.J. Hartley aber hervorragend gelungen, das Stück aus dem frühen 17. Jahrhundert an die Lese- und Hörgewohnheiten der Gegenwart anzupassen, ohne aber den Charakter des Originals zu verlieren bzw. dem Werk Shakespeares nicht den nötigen Respekt zu zollen. Manche Kleinigkeiten mögen mitunter der Modernisierung und dem Rotstift zum Opfer gefallen sein, zugleich wurden aber z.B. die Hintergrundgeschichten gewisser Charaktere (wie die der drei mysteriösen Hexen) vertieft und detaillierter ausgearbeitet, sodass die Geschichte genug Komplexität besitzt, um ein achtstündiges Hörspiel tragen zu können.
Ein Kopf-Kino der Extraklasse
Neben der eingangs bereits angesprochen stellenweise regelrecht bombastischen Geräuschkulisse überzeugt „Macbeth: Ein Epos“ auch mit einer Sprecherriege der Extraklasse. Besonderes Augen- bzw. Ohrenmerk gilt dabei natürlich den beiden Hauptfiguren Macbeth und Lady Macbeth, die von Tobias Kluckert und Claudia Urbschat-Mingues verkörpert werden. Wer Kluckert lediglich als Synchronstimme von Nathan Fillion aus der TV-Serie „Castle“ kennt, dürfte von der doch eher warmen und sanften Stimme angesichts der Rolle des erfahrenen Kriegers vielleicht ein wenig überrascht sein, allerdings werden einerseits die selbstzweiflerischen Momente des Protagonisten durch die nuancierte Darstellung des Sprechers enorm glaubwürdig und zum anderen konnte Kluckert als deutsche Stimme von Gerard Butler auch bereits reichlich Action-Erfahrung sammeln und ist daher auch für das Schlachtfeld eine sehr gute Besetzung. Urbschat-Mingues wiederum kennt man wohl vor allem als Synchronstimme von Angelina Jolie und wer sich die Hollywood-Schauspielerin als Lady Macbeth vorstellt, dürfte damit sicherlich ein recht authentisches Bild der Figur bekommen, die immer wieder auf dem schmalen Grat zwischen verführerischer und ehrgeiziger Intrigantin und liebender Ehefrau wandelt. Doch auch in den zahlreichen Nebenrollen finden sich mit Franziska Pigulla, Gordon Piedesack, Udo Schenk, Timmo Niesner, Tanja Fornaro, Oliver Siebeck oder Marius Clarén absolute Top-Leute ihres Fachs wieder, die das Hörspiel zu einem Kopf-Kino allererster Güte machen.
Epochale Neuinterpretation des Shakespeare-Klassikers
Es wäre vermutlich vermessen zu behaupten, dass William Shakespeare selbst seine helle Freude an dieser Neuauflage eines seiner berühmtesten Werke gehabt hätte, doch wer bisher zu den Skeptikern des Lyrikers gehörte und mit der Originalfassung wenig bis gar nichts anfangen konnte, wird sich vermutlich anhand dieser modernen Umsetzung wundern, wie viel Spannung, Dramatik und Tragik in „Macbeth“ steckt und wie zeitlos die Geschichte um Macht und Ruhm – wenn auch unter Zuhilfenahme kleiner modernisierender Handgriffe – auch mehr als 400 Jahre nach der Entstehung des Stückes noch ist. Man muss wahrlich kein Shakespeare-Fan sein, um dieses Hörspiel-Epos in vollen Zügen genießen zu können, es könnte aber durchaus sein, dass man anschließend das Bedürfnis verspürt, noch mehr seiner Werke wie z.B. „Hamlet“, „Romeo und Julia“, „Julius Cäsar“ oder „König Lear“ in einer solchen beeindruckenden und atmosphärischen Neuinterpretation erleben zu wollen.
Der Gedanke an den Namen „William Shakespeare“ dürfte die Leser dieser Welt wohl in zwei Lager teilen: Während die einen den berühmten englischen Dramatiker auch 400 Jahre nach seinem Tod noch verehren und von den legendären Stücken des Lyrikers und ihrer eleganten Sprache nicht genug bekommen können, dürfte die andere Hälfte beim Gedenken an gelbe Reclam-Hefte und unendlich scheinende Stunden der trockenen Textanalyse die Hände über den Kopf zusammenschlagen und sich mit Schaudern an die eigene Schulzeit zurückerinnern. Was wäre aber, wenn man eines der populärsten Stücke Shakespeares, das Drama um den schottischen König Macbeth, einer Frischzellenkur unterziehen und aus den für die einen nach wie vor zeitlosen, für die anderen aber reichlich angestaubten Versen ein bombastisches Epos machen würde und die vier Jahrhunderte alte Vorlage an die heutige Zeit anpasst? Diese Frage hat sich der britische Autor David Hewson, Krimi-Fans vielleicht bekannt durch die der TV-Serie „Kommissarin Lund“ zugrunde liegende Reihe „Das Verbrechen“, gestellt und „Macbeth“ in zwei Stufen in das neue Jahrtausend transportiert: Zunächst brachte Hewson das Stück mit seinem Co-Autor A.J. Hartley unter Einsatz historischer Fakten und einiger schriftstellerischen Freiheiten in Romanform („Macbeth – A Novel“) bevor dieses neue Hörbuchskript von 2011 im Shakespeare-Jahr 2016 nun in Zusammenarbeit mit dem Hörbuchanbieter Audible zu einer fast acht Stunden langen Hörspiel-Fassung weiterentwickelt wurde – und das Ergebnis kann sich mehr als sehen lassen.
“Macbeth” goes “Game of Thrones”
Wer eher Shakespeare-geschädigt aus seiner Schullaufbahn hervorgegangen ist und mit „Macbeth“ in erster Linie zähe Textarbeit und schwierige Sprache verbindet, der wird sich vermutlich schon nach wenigen Minuten die Augen reiben: Plötzlich findet man sich mitten in einem Schlachtfeld im schottischen Hochland wieder und kann dank martialischem Kriegsgeschrei, klirrenden Schwertern und donnerndem Hufgetrappel selbst Kriegsluft schnuppern und den Schweiß und das Blut der aufeinander einstürmenden Männer förmlich riechen. Mit trockenem Englischunterricht hat das Ganze plötzlich nichts mehr zu tun, stattdessen fühlt man sich wie in eine Staffel von “Game of Thrones” hineinversetzt, denn „Macbeth“ bietet auch mehr als 400 Jahre nach der Entstehung immer noch alle Zutaten einer guten Story: einen tragischen Helden, erbitterte Intrigen, blutige Schlachten, Liebe, Habgier, Mord, Rache und den ewig jungen Kampf um Ruhm und Macht.
Aus dem 17. Jahrhundert hinein in die Moderne
Ich möchte mir als Shakespeare-Laie nicht anmaßen, die moderne Hörspielfassung mit dem klassischen Stück zu vergleichen, dafür fehlt mir trotz „Macbeth“-Erfahrung im Schulunterricht einfach die nötige Kenntnis der Originalvorlage, meiner Meinung nach ist es David Hewson und A.J. Hartley aber hervorragend gelungen, das Stück aus dem frühen 17. Jahrhundert an die Lese- und Hörgewohnheiten der Gegenwart anzupassen, ohne aber den Charakter des Originals zu verlieren bzw. dem Werk Shakespeares nicht den nötigen Respekt zu zollen. Manche Kleinigkeiten mögen mitunter der Modernisierung und dem Rotstift zum Opfer gefallen sein, zugleich wurden aber z.B. die Hintergrundgeschichten gewisser Charaktere (wie die der drei mysteriösen Hexen) vertieft und detaillierter ausgearbeitet, sodass die Geschichte genug Komplexität besitzt, um ein achtstündiges Hörspiel tragen zu können.
Ein Kopf-Kino der Extraklasse
Neben der eingangs bereits angesprochen stellenweise regelrecht bombastischen Geräuschkulisse überzeugt „Macbeth: Ein Epos“ auch mit einer Sprecherriege der Extraklasse. Besonderes Augen- bzw. Ohrenmerk gilt dabei natürlich den beiden Hauptfiguren Macbeth und Lady Macbeth, die von Tobias Kluckert und Claudia Urbschat-Mingues verkörpert werden. Wer Kluckert lediglich als Synchronstimme von Nathan Fillion aus der TV-Serie „Castle“ kennt, dürfte von der doch eher warmen und sanften Stimme angesichts der Rolle des erfahrenen Kriegers vielleicht ein wenig überrascht sein, allerdings werden einerseits die selbstzweiflerischen Momente des Protagonisten durch die nuancierte Darstellung des Sprechers enorm glaubwürdig und zum anderen konnte Kluckert als deutsche Stimme von Gerard Butler auch bereits reichlich Action-Erfahrung sammeln und ist daher auch für das Schlachtfeld eine sehr gute Besetzung. Urbschat-Mingues wiederum kennt man wohl vor allem als Synchronstimme von Angelina Jolie und wer sich die Hollywood-Schauspielerin als Lady Macbeth vorstellt, dürfte damit sicherlich ein recht authentisches Bild der Figur bekommen, die immer wieder auf dem schmalen Grat zwischen verführerischer und ehrgeiziger Intrigantin und liebender Ehefrau wandelt. Doch auch in den zahlreichen Nebenrollen finden sich mit Franziska Pigulla, Gordon Piedesack, Udo Schenk, Timmo Niesner, Tanja Fornaro, Oliver Siebeck oder Marius Clarén absolute Top-Leute ihres Fachs wieder, die das Hörspiel zu einem Kopf-Kino allererster Güte machen.
Epochale Neuinterpretation des Shakespeare-Klassikers
Es wäre vermutlich vermessen zu behaupten, dass William Shakespeare selbst seine helle Freude an dieser Neuauflage eines seiner berühmtesten Werke gehabt hätte, doch wer bisher zu den Skeptikern des Lyrikers gehörte und mit der Originalfassung wenig bis gar nichts anfangen konnte, wird sich vermutlich anhand dieser modernen Umsetzung wundern, wie viel Spannung, Dramatik und Tragik in „Macbeth“ steckt und wie zeitlos die Geschichte um Macht und Ruhm – wenn auch unter Zuhilfenahme kleiner modernisierender Handgriffe – auch mehr als 400 Jahre nach der Entstehung des Stückes noch ist. Man muss wahrlich kein Shakespeare-Fan sein, um dieses Hörspiel-Epos in vollen Zügen genießen zu können, es könnte aber durchaus sein, dass man anschließend das Bedürfnis verspürt, noch mehr seiner Werke wie z.B. „Hamlet“, „Romeo und Julia“, „Julius Cäsar“ oder „König Lear“ in einer solchen beeindruckenden und atmosphärischen Neuinterpretation erleben zu wollen.
April 9, 2017
A novelized version of Shakespeare's play, narrated by Alan Cumming. It fell short, but then, it's Shakespeare, so why try to gild the lily, as they say? If you're not familiar with the play, this might be a good introduction to the story, but it lacks the language and form and so is just a retelling in more modern syntax.
September 14, 2017
Amazing novel. I highly recommend this book.
March 20, 2020
Amazingly written and narrated. And yet, so dark and disturbing.
December 20, 2017
May be I don't give this five stars since it owes so much to the Play, but Wow what a reimagining!
Any lover of prose will be gripped by the vivid description of these three very different witches, and Hartley does masterful work in making the Macbeths far more understandable, and yes - sympathetic.
Though the work is much better than a simple take on a revisionist history, The Novel simmers with life and makes me hunger for other strong reworking of Shakespeare's works done in this way.
Definitely, a writer whose other work demands immediate interest.
Any lover of prose will be gripped by the vivid description of these three very different witches, and Hartley does masterful work in making the Macbeths far more understandable, and yes - sympathetic.
Though the work is much better than a simple take on a revisionist history, The Novel simmers with life and makes me hunger for other strong reworking of Shakespeare's works done in this way.
Definitely, a writer whose other work demands immediate interest.
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