Filter is a theatre company that has built its name on the inventive use of sound, and in this aspect they do not disappoint in their new adaptation of Macbeth.

The nimble creativity of the production is captured from the off; after a nice “double, double, toil and trouble” joke that sets the scene for a self-proclaimed ‘playful’ Macbeth, we meet the witches, operating a strange collection of electronic musical apparatus. Now, at times I must admit that this opening section reminded me of the Friends episode where Ross plays the synth, but, once a specific laser noise was left behind, the sonic weirdness of the live electro accompaniment was actually very effective.

This was done particularly well during the knocking at the gate scene, just after Macbeth has murdered Duncan. Every noise appals Macbeth, and the knocking becomes mingled with the deafening throb of blood rushing around his head, as the sonic wall of noise heaves and wanes with his paranoia and guilt. Another fabulous moment of sound is during the scene when Macbeth comes to murder Macduff’s family, the horrific act captured in the switching off of a baby monitor, while tension plays on the theremin.

But, and sadly this is quite a big but, when it came to the narrative, it was very confusing. Much of the time I didn’t really know what was happening, or, thanks to the cast playing multiple roles, which character was supposed to be talking. The performances were strong but, in a play featuring notoriously complex characters, they just didn’t quite capture their richness and depth. This is perhaps not surprising in an adaptation that has cut the play down to run at less than 90 minutes, but nevertheless it was a little disappointing to feel the lack of emotional punch, and a certain dissatisfaction regarding the simple telling of the story.

Sound and fury? Absolutely. But when it came to what it all signified? Well, I’ll have to leave you to finish that line.   ★★★☆☆    Deborah Sims     25/02/15