It is with much sadness that we have taken the decision to postpone our literature festival. Given current conditions and advice, we want to ensure that all our audiences, authors, volunteers and staff remain as healthy as possible and we feel it is our duty and responsibility to protect others by not proceeding with our events at this time.

We are currently investigating options for rescheduling events and ask that you bear with us in the meantime whilst we talk with different venues and authors. We are also in talks with our box office - run externally - and appreciate your patience whilst we finalise information for those who have purchased tickets for events due to take place at the end of March. We will keep you informed as soon as we have further information.

Thank you all for your continued support - as a charity we rely so much on income from our audiences and sponsors to keep running and hope that, however uncertain the future is at present, we can continue to bring high-quality, inspiring multi-arts experiences to the Midlands.

(Last Updated: 17th March)

Lichfield Festival Box Office:
01543 306 150
Published date: July 15, 2019
Last modified: July 15, 2019

Young Critics Review 2019 – Macbeth (by Emily Robson)

Macbeth – The Malachites

The Guildhall, bearing flags on the ceiling, glistening stained-glass windows from the walls and a large fireplace was a perfect space for the performance of ‘Macbeth’. With its regal atmosphere, the venue took the audience back long ago when battles, superstitions and the constant yearning for power were rife.

The audience sat ‘in the round’ which gave the performance an intense but inclusive atmosphere where the actors would sometimes sit amongst the viewers. During the banquet scene Macbeth sat next to audience members on a high backed, decorated throne. Rolling his head from one side and then to another it felt as if as if he was directly sharing his troubles with them.

Of course, ‘Macbeth’ is well known for the three witches and they did not disappoint. Dressed in black, their humming became the play’s score and meant that the audience were constantly aware of their impact on events. These weird sisters were a constant presence on the stage and as arguments and tensions escalated and Macbeth’s feverish monologues became increasingly crazed, the witches drones would build the atmosphere further.

Byron Martin played the leading role and became increasingly fiery and outraged as his future became more unstable. Juxtaposing Macbeth’s murderous deeds, Benjamin Blyth’s Banquo conveyed a moral warmth. His reappearance as the ghost was chilling and Macbeth’s horrified reactions reflected his inner torture and turbulence very convincingly.

Lady Macbeth was played in a feisty style by Danielle LaRose. The addition of the harp which she played added a Gaelic and historic feel which contrasted perfectly with her guilt-racked scream during the sleepwalking scene later in the play.

With very little help from special effects, the Malachite Theatre Collective brought ‘Macbeth’ to life with superb acting and innovative supernatural scenes. Being ‘in the round ‘enabled the audience to share very directly with a powerful and memorable production.

By Emily Robson (age 15)