This is a Macbeth like no other. The Porter scene, if nothing else, ensures that. 

In an admirably courageous move that celebrates a zest for innovation, Director Wils Wilson asked stand-up comedian Stewart Lee to rewrite the scene for a modern-day audience; to replace unintelligible jokes from the early 17th century with - according to the Midlands-born comedian himself - gags that are understandable, satirical and funny... but which take the same dark and sinister tone as Shakespeare’s originals.

The challenge Wilson set has most definitely been met; the Porter scene certainly comes to life. Featuring, as it does, gags about Tory MPs and GCSE students, it offers a standup-style break from the action which, although probably not to everybody’s taste, has plenty to recommend it - not least the laughter it elicits from the audience. 

But this latest version of Shakespeare’s shortest tragedy has plenty going for it besides an updated Porter scene. For a start, we live in uncertain times, and the play clearly resonates in our own age. Political upheaval, fear of tyranny and deep, dark, cultural psychosis remain very much alive and well in the 21st century. 

And to further enhance its relevance to contemporary times, this particular version of Macbeth is set not hundreds of years in the past but rather in a near-future Scotland, one in which resources are increasingly scarce.   

As ever, Macbeth’s road to hell begins with the witches, here portrayed by Amber Sylvia Edwards, Elidh Loan and Dylan Reid - all of whom, along with many others in the cast, are this season making their Royal Shakespeare Company debuts. Careful attention has been given to the witches’ choreography. Their demonic intent, as they meddle in politics and play with minds, is splendidly articulated through the often wild cavortings of their bodies, writhing and swaying as they set Macbeth on a course of action from which there will be no return. 

Reuben Joseph stars as Macbeth - fresh from singing about Macbeth in the title role of Hamilton! It is a part he’s yearned to play, and he makes a good fist of it.       

Elsewhere, Valene Kane’s Lady Macbeth is worthy of note, the increasingly disturbed workings of her mind impressively etched out in her actions and speech.   

This latest Macbeth features plenty of imaginative touches, frequently explodes with energy, and should be commended for its risk-taking and desire to be different. At nearly three hours in length, there’s the danger that it outstays its welcome, but for the most part it moves along at a brisk pace. It is by no means an always comfortable watch - but then how could it be? Macbeth is, after all, a story of unbridled horror, writ large in the blood of its numerous victims.

It is also one of Shakespeare’s most performed plays. This brave and bold new version will leave you in little doubt as to why. 

Three stars

Reviewed by Cathy Kingham at the Royal Shakespeare Theatre, Stratford-upon-Avon on Wednesday 30 August. Macbeth continues to show at the venue until Saturday 14 October