WITH more than double the requisite number of witches, three purpose-built stands, a 48-strong cast and a grassy stage that bellowed smoke from under the turf, the Hillbark Players’ production of Macbeth would have been an ambitious project for a professional theatre company.

But entirely directed, acted and staged by a team of volunteers, it was an impressive feat indeed.

Drawn from amateur dramatics groups from across the North West, the calibre of performers was generally of a very high standard.

Royden Park woods formed a natural backdrop to a play that director Nick Sample set in the 11th century, the time when the real-life Scottish king would have reigned.

The period setting made the piece feel less about neurotic ambition and more reflective of the stark reality of a time when regicide was not uncommon.

And directorial decisions showed the Macbeths’ fate as the result of cause and effect, rather than something simply destined to happen.

Lady Macbeth’s mental unravelling, for instance, is a direct consequence of her husband’s initial incapacity to accept their murderous deed.

The wyrd sisters also played a more active part in the play’s bloody outcome, with the often excluded role of chief witch Hecate central to the action.

Pauline Garland was excellent as Lady Macbeth, contrasting the character’s resolute pursuit of power with the delicacy of her later breakdown.

While Charles Riley often delivered Macbeth’s lines at too fast a pace, his expression of emotion was always entirely convincing.

But the most powerful moments in the production were the battle scenes.

Plenty of dry ice, red lighting and clashing swords helped to magically transport the audience back to the Middle Ages.

MACBETH, by the Hillbark Players, runs until Saturday, June 27, at Frankby, Wirral.

LAURA DAVIS