Curse of the Scottish Play

By Rosemary Hume and Editor

MEMBERS of the Murwillumbah Theatre Company believe the curse of ‘The Scottish Play’ has struck again after one its stage actors, David Thomas, received a nasty bite from a python last week.

Mr Thomas plays Banquo and Seward in the company’s current production of Macbeth and considers himself lucky to only have received bite marks and bruising from the disturbed python in his kitchen.

The incident caused him to miss the performance for high schools last Friday morning, leaving the assistant director to read in the role.

But the cast are asking is the curse surrounding the Bard’s play still alive?

Shakespeare’s Macbeth is surrounded by superstition and fear of the ‘curse’ — which says uttering the play’s name aloud in a theatre causes bad luck.

But where did this superstition come from?

According to folklore, Macbeth was cursed from the very beginning.

Shakespeare was said to have researched the weird sisters (witches) in depth; their chants, and ingredients of fenny snake, eye of newt and toe of frog, which are supposedly real spells. This led to coven of witches objecting to Shakespeare using their real incantations, so they put a curse on the play.

Legend has it the play’s first performance (around 1606) was riddled with disaster.

The actor playing Lady Macbeth died suddenly, so Shakespeare himself had to take on the part.

Other rumoured mishaps include real daggers being used in place of stage props for the murder of King Duncan (resulting in the actor’s death).

The play hasn’t had much luck since.

The famous Astor Place Riot in New York in 1849, caused by rivalry between American actor Edwin Forrest and English actor William Charles Macready, resulted in at least 20 deaths and over 100 injuries.

Both Forrest and Macready were playing Macbeth in opposing productions at the time. Other productions have been plagued with accidents, including actors falling off the stage, mysterious deaths, and even narrow misses by falling stage weights, as happened to Laurence Olivier at the Old Vic in 1937.

The actors are pleading with the audiences not to worry.

“Come and see Macbeth! This is Australia — she’ll be right mate!” they said.

The final weekend of performances is on Friday, March 31, at 7.30pm, Saturday, April 1, at 7.30pm and Sunday, April 2, at 2pm.

Tickets available from: www.murwillubahtheatrecompany.com.au or at https://www.trybooking.com/CESLO

THE NORTHERN Rivers NSW is a distinctively diverse region. Personality of place is paramount, naturally nurturing people who resonate with the landscape and this community’s charm. Our paradisical pockets of bucolic rolling hills, ancient forests, crystal clear creeks, abundant beaches and, of course, our magical mountain, Wollumbin, all weave a celestial spell. We have the highest concentration of creative artists in the entire country, a telling fact. Not only do we breed and beckon resident artists, but the amazing performers who visit inevitably become indelibly linked. It’s hard to live and work in this incredible caldera and remain unchanged. Lovely Lior, performing tonight (23rd) with his talent discovery, Domini Forster, have both visited the area multiple times for festivals. Wonderful William Crighton, sharing the stage next Friday night (31st) with luminous Liz Stringer, donated his album launch concert tickets to our flood relief last year. Tim Freedman is another welcome guest, flicking a switch and connecting with regional Australia with his new work and tour, sharing his Black Stump project far and wide.

We know that hard working artists visit regional areas, and tour the heartland of our great nation - cities and towns, villages, and communities countrywide. When they’re here, their connection to us is always special. My Dad taught me the imperative of paying it forward, that a business strives to support community enterprises and events whenever possible – as a gathering place, to advocate, encourage and fundraise – anything that contributes to this sacred land, its history and elders, our emerging leaders, creative artists and community groups. In flood, fire, and drought The Regent has been here since 1947, standing tall for over 75 years as the iconic centre of arts culture, connecting us in crisis, and in the shared glory of memorable music or amazing film. Our lovingly-attentive audiences, caring community and generous visiting artists, keep the beat of the pulsing heart of our small, resilient, and artistic society. I’m honoured to be part of it, remaining committed to the people of this place. I appreciate it works both ways – a circular, creative economy of connection and compassion.