9-12.3.2011
香港演藝學院歌劇院
Lyric Theatre
Hong Kong Academy for Performing Arts
英語演出，附中文字幕
Performed in English with Chinese surtitles
演出長約2小時，不設中場休息
Running time: approximately 2 hours with no interval
導演的話 Director’s Notes
Themes in Macbeth
走進馬克白 Inside Macbeth
敬請關掉所有響鬧及發光裝置，請勿擅自攝影、錄音或錄影，多謝合作。
Please switch off all sound-making and light-emitting devices. Unauthorised photography or recording of any kind is strictly prohibited. Thank you for your co-operation.
所有照片 All Photographs © Johan Persson
原著
莎士比亞
Playwright William Shakespeare
演員 Cast
馬克白
威爾．堅
Macbeth Will Keen
馬克白夫人
安娜塔西亞．海勒
Lady Macbeth Anastasia Hille
邁克特夫
大衛．凱夫斯
Macduff David Caves
鄧肯/蘇格蘭醫生
大衛．科林斯
Duncan/Scottish Doctor David Collings
看更/邁克特夫夫人
凱莉．胡頓
Porter/Lady Macduff Kelly Hotten
馬爾肯
奧蘭多．詹姆斯
Malcolm Orlando James
班戈
賴安．基格爾
Banquo Ryan Kiggell
鄉紳
Thanes
菲利普．凱恩斯， 文森．恩德比
尼古拉斯．古德，格雷格．高帕克治 埃德蒙．韋斯曼
Philip Cairns, Vincent Enderby Nicholas Goode, Greg Kolpakchi Edmund Wiseman
創作人員 Creative Team
導演
迪克蘭．唐納倫
Director Declan Donnellan
舞台設計
尼克．俄美洛
Designer Nick Ormerod
副導演 / 形體指導
珍．吉布森
Associate Director / Movement Director Jane Gibson
燈光設計
朱蒂絲．格林伍德
Lighting Designer Judith Greenwood
作曲
嘉芙蓮．海耶
Composer Catherine Jayes
音響設計
海倫．阿特金森
Sound Designer Helen Atkinson
助理導演
奧雲．霍斯利
Assistant Director Owen Horsley
製作人員 Production Team
聲音指導
帕齊．羅登堡，艾瑪．伍德溫
Company Voice Work Patsy Rodenburg, Emma Woodvine
動作指導
喬納森．沃勒
Fight Director Jonathan Waller
選角總監
詩芳．布羅克
Casting Director Siobhan Bracke
技術總監
西蒙．伯恩
Technical Director Simon Bourne
服裝指導
安琪．伯恩斯
Costume Supervisor Angie Burns
舞台技術監督
道基．威爾森
Technical Stage Manager Dougie Wilson
劇團舞台監督
理查．李維林
Company Stage Manager Richard Llewelyn
第一幕
三女巫相約在戰事平息後碰頭。蘇 格蘭王鄧肯得知馬克白大勝敵軍， 而現任考特爵士則是叛國賊。女巫 們攔住馬克白和班戈，預言馬克白 將進爵考特，最終稱王蘇格蘭，而 班戈的子孫則將為王。
羅斯傳來聖旨，馬克白獲封考特爵 士，一個預言已實現。馬克白陷入 沉思，思考是否應對第二個預言採 取行動。國王鄧肯則冊封長子馬爾 肯為繼承人。
因佛內斯的城堡中，馬克白夫人從 來信得知女巫的預言，決定說服丈 夫捉緊命運；知道鄧肯要駕臨後， 更堅定了弒君的決心。她告訴馬克 白，此事她必將出手。鄧肯來到 後，馬克白猶豫想罷手，其妻說服 他動手並提議嫁禍鄧肯的侍從。
Act 1
Three witches decide to meet after an ongoing battle. King Duncan is told that Macbeth was victorious and that the Thane of Cawdor was traitorous to Scotland. The witches confront Macbeth and Banquo predicting that Macbeth will be Thane of Cawdor and King of Scotland, and Banquo will father kings. Ross informs Macbeth that he has inherited the title Thane of Cawdor. Macbeth contemplates the witches’ prediction, and wonders if he should act upon their premonitions. King Duncan names his eldest son, Malcolm, as his heir. At Inverness Castle, Lady Macbeth learns of Macbeth’s encounter with the witches and decides to persuade him to pursue his destiny. On hearing that Duncan is coming to her castle, her decision to murder the King strengthens. She tells Macbeth she will do the deed. Duncan arrives and Macbeth tells his wife he doesn’t want to murder the King. Lady Macbeth talks her husband into framing Duncan’s own guards for the murder.
第二幕
馬克白無法入睡，與同樣難以入眠的 班戈交談。班戈離去後，馬克白彷彿 看到一把帶血的匕首引他向前。馬克
白告訴妻子他殺了鄧肯，且開始聽 到有人說話。他忘記把匕首放回國 王侍從身邊，馬妻替他放回匕首 時，自己手上也沾了鮮血。
蘇格蘭貴族邁克特夫和列諾克斯來 到城堡，向看更求見國王。隨後邁 克特夫與馬克白「發現」國王被
刺，王子馬爾肯及唐納本急忙逃往 英格蘭和愛爾蘭。他們被冠以弒父 之罪，而馬克白則登上王位。
Act 2
Macbeth is having trouble sleeping and converses with an equally troubled Banquo. When alone, Macbeth hallucinates that a bloody dagger is in front of him. He later tells his wife he murdered Duncan and begins hearing voices. Macbeth forgets to return the dagger to the King’s guards, so his wife does it, bloodying herself. Macduff and Lennox appear at the castle gates to be greeted by the porter. They ask to see Duncan. Macduff and Macbeth “discover” the body. Duncan’s sons, Malcolm and Donalbain, flee to England and Ireland. They are denounced as having engineered their father’s murder and Macbeth is declared king.
第三幕
弗萊斯城堡中，馬克白因怕班戈的 後人顛覆其王位，決定謀殺班戈及 其子弗里恩斯，他的計劃讓馬克白 夫人都吃了一驚。班戈雖被除掉， 其子卻成功脫逃。晚宴時，馬克白 幻覺中看到班戈鬼魂，自己受到驚 嚇的同時亦嚇壞了赴宴的貴客，馬 克白夫人不得不提前送客。
Act 3
At Forres Castle Macbeth thinks that Banquo might father children who would overthrow him. So he hires men to murder Banquo and his son, Fleance. Macbeth scares his wife by informing her of his actions. Banquo is killed, but Fleance escapes. At dinner, Macbeth disrupts the company when he imagines he sees Banquo’s ghost, causing his wife to excuse the dinner guests.
第四幕
馬克白問了女巫三個問題，回答 是：一，小心邁克特夫；二，沒有 哪個女人所生之子可以傷害馬克 白；三，馬克白不會被征服，除非 勃南森林移向鄧西嫩山。隨後幻影 出現，是班戈和他八個頭戴王冠的 子孫。馬克白得知邁克特夫已前往 英格蘭，只為說服馬爾肯一起征討 自己，他即下令盡戮邁克特夫全 家。英格蘭那邊，邁克特夫和馬爾 肯決定聯手對抗馬克白。此時羅斯 帶來了邁克特夫全家被殺的慘痛 消息。
第五幕
馬克白夫人在夢遊中透露了鄧肯的 死因。鄧西嫩堡中，馬克白得知一 萬大軍已兵臨城下。不久馬克白夫 人過世。馬爾肯命令士兵以勃南森 林砍下的樹枝作偽裝。勃南森林向 着城堡「移動」了。馬克白披掛上 陣，手刃小薛華特後迎戰邁克特 夫。後者表示自己乃剖腹而產，不 算婦人所生，並隨即殺死馬克白。
馬爾肯被尊為新國王。
Act 4
Macbeth asks the witches three questions. They answer: 1. Beware Macduff, 2. No one born of woman will harm Macbeth, and 3. Macbeth shall never be conquered until Birnam Wood comes to Dunsinane Hill. The ghost of Banquo appears, with eight future royal offspring. Macbeth learns that Macduff has gone to England to convince Malcolm to join arms against Macbeth. Lady Macduff and her son are killed. In England, Macduff and Malcolm agree to fight Macbeth. Ross delivers the devastating news to Macduff about his son and wife.
Act 5
Lady Macbeth is sleepwalking and rambling about Duncan’s death. At Dunsinane Castle, Macbeth learns that an army of 10,000 is near. Malcolm orders his soldiers to use trees from Birnam wood as disguises. Macbeth learns that his wife has died and that Birnam wood is “moving” toward the castle. Macbeth kills young Siward, then fights Macduff who informs him that he (Macduff) was ripped from his mother’s womb, and not born of woman. Macduff kills Macbeth then crowns Malcolm the new king.
恐怕每個人一生所做的錯事中， 都包括不敢面對自己行為造成的後 果。我相信馬克白若早知他會造成 鄧肯的死亡，就不會動手了。沒有 誰能指責他愚蠢，因為這種愚蠢 是人性的一部份。重點不在於聰明 與否，而在於自我欺騙。
不存在與「虛無」
「這是個愚人所講的故事，慷慨而激 昂，卻沒有一點意義。」 （第五幕，第五場，第26-28行） 「虛無」在《馬克白》中多次被提 及，暗示了主題之一：不存在。這 是莎士比亞作品的大膽之處：在舞 台上呈現不存在之事物。存在的易 演，而不存的難現。比如說，我們 很難真的表演死亡，因為死亡的本 質就是不存在。我們大可在舞台上 展現殺人過程，但想傳達「虛無」 的感覺，卻難之又難。大部份戲劇 都以「動」為主，莎士比亞卻嘗試 表現出「靜止」甚至是「休止」， 而且往往獲得極大成功。例如《馬 克白》台詞「已經做了的事沒法變 成未做」，指明未作之事何其重要。
that he would die as a result.” I am afraid one of the many terrible things which we do in life, is that we never face up to the consequences of our actions. I don’t think the Macbeths would have murdered Duncan if they had realised that he would die as a result. I don’t think any of us can point the finger and say how stupid they are because such stupidity is part of the human condition, it is not to do with a lack of intelligence, it is to do with self-deception.
（摘錄自迪克蘭．唐納倫與米蓋爾．貝嘉 教授的談話）
Absence and “Nothing”
“It is a tale told by an idiot, full of sound and fury signifying nothing.” (Act 5, sc 5, 26-28)
The theme of “nothing” is also alluded to many, many times in Macbeth: the theme of unbeing. It is an audacious aspect of Shakespeare’s work that he often tries to stage the thing that isn’t. Staging the thing that is, is much easier. For example, we cannot really stage death, because the essence of death is that it is about absence. Of course we can stage people killing each other, but the experience of absence is very difficult to stage. Most drama is about action and Shakespeare attempts, normally with terrific success, to stage the effects of inaction or inactivity itself. For example the lines in Macbeth, “What’s done cannot be undone,” point to the theme of the thing undone being very important.
(Declan Donnellan in conversation with Professor Miquel Berga)
同一個意識
恐懼的病毒在謀殺當夜感染了馬克白，之後卻在他妻子體內擴散。是他在謀殺前出現 幻覺看到匕首，卻是她在事後精神錯亂。是他在殺人後聽到一個聲音叫到：
「別再睡了！馬克白謀殺了睡眠……」
「馬克白休想再睡了。」
但我們從未聽說馬克白從此夜不能寐，倒是王后開始夢遊； 是他無助地站在那裏，看着染血的雙手，嘆道：
「大洋裏所有的水」也洗不掉這血跡，而她在一旁安慰道： 「一點點水就能洗清我們的行為。」
後來卻是她反覆搓洗雙手達一刻鐘之久，卻還洗不掉手上的血污。
馬克白夫婦二人窮盡了對罪行所能有的所有反應，像是同一個精神體分裂出來的兩個 人格。又或者，他們根本是同一個原型的兩面。
節選自西格蒙德．弗洛伊德《心理分析中的某些性格類型》
A Single Consciousness
The germs of fear which break out in Macbeth on the night of the murder do not develop further in him but in her. It is he who has the hallucination of the dagger before the crime; but it is she who afterwards falls ill of a mental disorder. It is he who after the murder hears the cry in the house:
“Sleep no more! Macbeth does murder sleep…” and so “Macbeth shall sleep no more;” but we never hear that he slept no more, while the Queen takes to sleepwalking. It is he who stands helpless with bloody hands, lamenting that:
“all great Neptune’s ocean;” will not wash them clean, while she comforts him:
“A little water clears us of this deed;”
But later it is she who washes her hands for a quarter of and hour and cannot get rid of the bloodstains.
Together they exhaust the possibilities of reaction to the crime, like two disunited parts of a single psychical individuality and it may be that they are both copied from the same prototype.
From Some Character-types Met With In Psycho-analytical Work by
Sigmund Freud
秤不離砣劇團
Cheek by Jowl
秤不離砣劇團於1981年由迪克蘭． 唐納倫與尼克．俄美洛創辦。1970 年代中，他們在劍橋大學相識， 繼而多次合作，包括倫敦藝穗節的 若干製作、皇家宮廷劇院的「青年 活動計劃」及在倫敦藝術教育學院 的合作。
1981年，他們共創了秤不離砣劇團。 劇團理念是重新審視經典，避免 導演與設計的概念主導，專注於演 員的演技。創團後首齣巡演作品是 威徹利的《村婦》，在愛丁堡藝術 節亮相。
在倫敦的第一個劇季，劇團即贏得 1986年羅蘭士．奧利花「最具潛力 新星獎」。1980年代，劇團成長 迅速，十年間共創作了18個新作， 巡演足跡遍佈五大洲，演出逾 1,500場。
1990年，《獨立報》斷言「若說八十 年代有一個劇團影響了整個英國 戲劇界，那就是秤不離砣劇團。」 雜誌《城市極限》則說唐納倫和 俄美洛是「英國戲劇界的最佳 拍擋」。
秤不離砣劇團在俄羅斯有一姐妹 劇團，同樣在世界各地巡演，目前 的常演劇目包括莎士比亞的《第十 二夜》、普希金的《鮑里斯．戈杜諾 夫》及契訶夫的《三姐妹》。
Cheek by Jowl was established in 1981 by Declan Donnellan and Nick Ormerod. They met at Cambridge University in the mid 1970s. Subsequently they worked together on various productions on the London Fringe, at the Arts Educational Drama School and for the Young Activists at the Royal Court.
In 1981 they formed Cheek by Jowl. The company’s manifesto was to re-examine classical texts, avoiding directorial and design concepts, and to focus on the actor’s art. Its first production to tour was Wycherley’s The Country Wife presented at the Edinburgh Festival.
In their first London season Cheek by Jowl won the Laurence Olivier Award for Most Promising Newcomer in 1986. The company grew rapidly throughout the 1980s — creating 18 productions in ten years, touring across five continents and giving over 1,500 performances. By 1990, The Independent could say that “If there is one company to have influenced British theatre in the 1980s, it is Cheek by Jowl”. City Limits described Donnellan and Ormerod as “the most exciting partnership in British theatre”.
Donnellan and Ormerod have set up a sister company in Russia. It performs internationally and its current repertoire includes Boris Godunov by Pushkin, Twelfth Night by Shakespear and Three Sisters by Anton Chekov.
迪克蘭．唐納倫
Declan Donnellan 導演 Director
唐納倫是秤不離砣劇團的聯合藝術總監。任英國國家劇團副導演時的作品有《羊泉村》、
《魔街理髮師》、《命令》及《天使在美國》上下集。效力皇家莎士比亞劇團時導演《造謠 學校》、《李爾王》和《孤星血淚》。其他導演作品包括《熙德》（亞維儂藝術節）、《法斯 塔夫》（薩爾茨堡藝術節）、《羅密歐與茱麗葉》（莫斯科大劇院芭蕾舞團）及《冬天的 故事》（聖彼得堡馬利歌劇團及芭蕾舞團）。
2000年唐納倫和尼克．俄美洛在莫斯科共創了秤不離砣的姐妹劇團。他著有《演員與 標靶》，並曾獲奧利花傑出成就獎及法國藝術及文學騎士勳章。
Donnellan is joint Artistic Director of Cheek by Jowl. As Associate Director at the National Theatre his production includes Fuente Ovejuna, Sweeney Todd, The Mandate, and both parts of Angels in America. For the Royal Shakespeare Company he has directed The School for Scandal, King Lear and Great Expectations. Other directing credit includes Le Cid for the Avignon Festival, Falstaff for the Salzburg Festival and Romeo and Juliet for the Bolshoi Ballet, Moscow. Other work in Russia includes The Winter’s Tale for the Maly Theatre of St Petersburg.
In 2000 he and Nick Ormerod formed a company of actors in Moscow. He has published a book The Actor and the Target, and has received awards including the Olivier Award for Outstanding Achievement and Chevalier de l’Ordre des Arts et des Lettres.
尼克．俄美洛
Nick Ormerod
舞台設計 Designer
俄美洛是秤不離砣劇團的聯合藝術總監，畢業於英國溫布頓藝術學院，在俄國的作 品包括《冬天的故事》（聖彼得堡馬利歌劇團及芭蕾舞團）；《鮑里斯．戈杜諾夫》、 《第十二夜》、《三姐妹》（秤不離砣莫斯科姐妹劇場）及《羅密歐與茱麗葉》（莫斯 科大劇院芭蕾舞團）。其他作品有《法斯塔夫》（薩爾茨堡藝術節）、《安蒂崗妮》 （老域劇院）及《花粉熱》（薩沃伊劇院）。1992年俄美洛獲得奧利花年度設計大獎。
Ormerod is joint Artistic Director of Cheek by Jowl. He trained at Wimbledon School of Art. Design work in Russia includes The Winter’s Tale (Maly Theatre of St Petersburg), Boris Godunov, Twelfth Night and Three Sisters (with Cheek by Jowl’s sister company in Moscow) and Romeo and Juliet (Bolshoi Ballet, Moscow). His other design includes Falstaff (Salzburg Festival), Antigone (Old Vic Theatre) and Hay Fever (Savoy Theatre). In 1992 he received an Olivier Award for Designer of the Year.
珍．吉布森
Jane Gibson
副導演 /
形體指導 Associate Director / Movement Director
吉布森是秤不離砣劇團的副導演。曾任英國國家劇團形體主任十年，其他效力過的劇團有 皇家莎士比亞劇團、倫敦艾梅爾達歌劇院及悉尼劇團。歌劇作品有《加文》、《茶花女》 和《凱撒大帝》（皇家歌劇院）。電視作品有《傲慢與偏見》（獲艾美獎最佳編舞提名）、 《錦繡佳人》、《包法利夫人》、《丹尼爾的半生緣》、《戀戀冬季》、《查理二世》及《克蘭 弗德》。電影作品有《理智與感情》、《心鎖》、《畫意私情》、《長路將盡》、《香水》、 《V煞》、《傲慢與偏見》、《珍奧斯汀少女日記》、《傳奇女王伊利沙伯：黃金盛世》及 《愛．誘．罪》。
Gibson is an Associate Director of Cheek by Jowl. She was Head of Movement at the National Theatre for ten years and has worked extensively for theatre companies including the Royal Shakespeare Company, the Almeida Theatre and the Sydney Theatre Company. Opera includes Gawain, La Traviata and Julius Caesar (Royal Opera House). Television includes Pride and Prejudice (Emmy nomination for Outstanding Choreography), Wives and Daughters, Madame Bovary, Daniel Deronda, Love in a Cold Climate, Charles II and Cranford. Film includes Sense and Sensibility, Mansfield Park, Girl with a Pearl Earring, Iris, Perfume, V for Vendetta, Pride and Prejudice, Becoming Jane, The Golden Age and Atonement
朱蒂絲．格林伍德
Judith Greenwood
燈光設計 Lighting Designer
格林伍德為秤不離砣劇團擔任副導演及燈光設計。其他作品包括《熙德》（亞維儂 藝術節）、《鮑里斯．戈杜諾夫》、《第十二夜》、《三姐妹》（契訶夫國際戲劇節）、
《法斯塔夫》（薩爾茨堡）、《家寶/喀布爾》（秤不離砣/新域劇院）、《李爾王》（皇 家莎士比亞劇團學院）、《皆大歡喜》、《孤星血淚》、《亨利八世》（皇家莎士比亞 劇團）、《羅密歐與茱麗葉》（莫斯科大劇院芭蕾舞團）及《暴風雨》（格拉斯哥特隆 劇院）。她還在黎巴嫩首都貝魯特與數個該國劇場合作。此外亦參與撰寫了數本關於非洲 戲劇的書。
As Associate Director of Cheek by Jowl, Greenwood has toured the world lighting their productions. Other work includes Le Cid (Avignon Festival), Boris Godunov, Twelfth Night, Three Sisters (Chekhov Festival), Falstaff (Salzburg), Homebody/Kabul (Cheek by Jowl/ Young Vic), King Lear (RSC Academy), As You Like It, Great Expectations, Henry VIII (RSC Stratford), Romeo and Juliet (Bolshoi Ballet, Moscow), and The Tempest (Tron Theatre, Glasgow). She works with Lebanese theatre companies in Beirut and has contributed to several books on African theatre.
Catherine Jayes
Composer
海耶斯是秤不離砣劇團的副導演，曾為《馬爾菲公爵夫人》、《奧賽羅》等劇作曲。
劇場作品包括《黑暗元素三部曲》（伯明翰劇團及巡演）、《香箋淚》（溫德姆斯劇院）、
《孤星血淚》(皇家莎士比亞劇團）及《命令》（英國國家劇團）等。還任以下劇作音樂 指導或音樂編排：《快樂向前行》（紐伯里水磨坊劇院）、《莫扎特》（威爾頓音樂大廳）、 《吉卜賽》（西約克夏劇院）、《紅男綠女》（謝菲爾德克魯西布劇院），及攝政公園露天 劇場演出的20齣音樂劇。電影作品有《朱古力掌門人》、《譜出愛戀曲》及《魔街 理髮師》。
Jayes is an Associate Director of Cheek by Jowl. She has composed for The Duchess of Malfi, Othello and others. Theatre includes – as Composer: His Dark Materials (Birmingham Rep and Tour), The Letter (Wyndham’s Theatre), Great Expectations (RSC) and many others – as Musical Director/Arranger: Merrily We Roll Along (Watermill, Newbury), Amadeus (Wilton’s Music Hall), Gypsy (West Yorkshire Playhouse), Guys and Dolls (Sheffield Crucible) and 20 musicals at the Open Air Theatre. Film includes Charlie and the Chocolate Factory, Delovely and Sweeney Todd.
海倫．阿特金森
Helen Atkinson
音響設計 Sound Designer
本作是阿特金森首次為秤不離砣劇團擔任音響設計。音響設計作品：《愛德華二世》、《與梅
薩莉娜同床》（視神經劇團）；副音響設計作品：《罪犯歌劇》（脫軌劇院）；擔任音響技師 的作品：《特洛勒羅斯與克瑞西達》（秤不離砣劇團）、《觀察者》（英國國家劇團）等。
This is Atkinson’s first sound design for Cheek by Jowl. Her other work includes — as sound designer: Edward II and In bed with Messalina (Eyestrings Theatre Company). As associate designer: The Convict’s Opera (Out of Joint). As sound technician: Troilus and Cressida (Cheek by Jowl) and The Observer (National Theatre) .
奧雲．霍斯利
Owen Horsley
助理導演 Assistant Director
畢業於倫敦中央聖馬丁藝術設計學院的戲劇中心。導演作品包括《愛德華二世》、《與梅薩 莉娜同床》（視神經劇團）及《羅密歐與茱麗葉》（愛與瘋狂）；為秤不離砣劇團擔任助理導 演的作品包括《換命謊言》、《還璧記》及《特洛勒羅斯與克瑞西達》。
Horsley trained at Drama Centre London. Theatre includes – as Assistant Director: The Changeling, Cymbeline, Troilus and Cressida (all Cheek by Jowl) – as Director: Edward II, In Bed with Messalina (Eyestrings Theatre Company) and Romeo and Juliet (Love and Madness).
David Caves
邁克特夫 Macduff
畢業於倫敦音樂戲劇學院。劇場作品包括《特洛勒羅斯與克瑞西達》、《還璧記》（秤不 離砣劇團）；《口袋裏的石頭》（英國巡演）；《雕刻》（崔斯坦．貝特斯劇團，獲大西洋 計劃獎）；《咆哮山莊》、《第十二夜》（河畔工作室）；《VC奧弗萊厄蒂》（庭院劇場）； 《心靈的謊言》、《瘋狂森林》（巴特西藝術中心）；《馬爾菲公爵夫人》（西約克夏劇院）； 《巴爾》、《黑手 / 死域》、《處女的悲劇》及《都柏林．卡羅爾》（倫敦音樂戲劇學院）。
Caves trained at LAMDA. Theatre includes Troilus and Cressida, Cymbeline (Cheek by Jowl), Stones in His Pockets (UK Tour), Carve (Tristan Bates - Atlantic Project Winner), Wuthering Heights, Twelfth Night (Riverside Studios), O’Flaherty VC (Courtyard Theatre), A Lie of the Mind, Mad Forest (BAC), The Duchess of Malfi (West Yorkshire Playhouse), Baal, Black Hands/Dead Section, The Maid’s Tragedy and Dublin Carol (LAMDA).
大衛．科林斯
David Collings
鄧肯 / 蘇格蘭醫生
Duncan / Scottish Doctor
戲劇作品：《特洛勒羅斯與克瑞西達》、《還璧記》、《換命謊言》（秤不離砣劇團）； 《亨利八世》、《約翰王》（皇家莎士比亞劇團）；《假隨從》、《命令》（英國國家劇團）； 《凱撒大帝》（巴比肯中心）及《理查二世》（老域劇院）。電視作品：《罪與罰》、《楊梅》 （獨立電視台）；《夏日之歌》、《格林兄弟》及《凱撒大帝》（英國廣播公司）。電影作品： 《小氣財神》、《愛情遊戲》和《馬勒傳》。廣播作品：《魔戒》。
Collings’ theatre work includes Troilus and Cressida, Cymbeline, The Changeling (Cheek by Jowl), Henry VIII, King John (RSC), The False Servant, The Mandate (National Theatre), Julius Caesar (Barbican) and Richard II (Old Vic). Television includes Crime and Punishment, The Strawberry Tree (ITV), Song of Summer, The Brothers Grimm and Julius Caesar (BBC). Film includes: Scrooge, Persuasion and Mahler. Radio includes Lord of the Rings
凱莉．胡頓
Kelly Hotten
看更 / 邁克特夫夫人 Porter / Lady Macduff
畢業於倫敦中央聖馬丁藝術設計學院的戲劇中心。劇場作品有《幸福大飯店》（桑寧磨坊劇 院）；《愛德華二世》、《與梅薩莉娜同床》（視神經劇團）；《處男》（維也納英語劇院）； 《女孩》、《油管》、《法庭謀殺案》（塔拉藝術團）及《冥世》（503劇場）。
Hotten trained at the Drama Centre London. Theatre includes Plaza Suite (Mill at Sonning), Edward II, In Bed with Messalina (Eyestrings Theatre Company), Virgins (Vienna’s English Theatre), The Girl, The Oil Pipe and The Murder in the Forum (Tara Arts) and Hades (Theatre 503, The Company Project).
奧蘭多．詹姆斯
Orlando James
馬爾肯 Malcolm
畢業於倫敦中央聖馬丁藝術設計學院的戲劇中心。劇場作品包括《感官五種》（南華克劇 院）和《哈姆雷特》（奧地利穆勞城堡）。廣播作品則有《死亡反思》（英國廣播公司 / 傑西 卡．德洛姆格勒）、《五號屠場》（英國廣播公司 / 大衛．亨特）及《接龍故事》（英國廣播 公司 / 保羅．阿諾）。
James trained at the Drama Centre London. Theatre includes Sense (Southwark Playhouse) and Hamlet (Murau Castle, Austria). Radio includes Ruminations Upon Mortality (BBC/ Jessica Dromgoole), Slaughterhouse 5 (BBC/David Hunter) and Chain Gang (BBC/Paul Arnold).
賴安．基格爾
Ryan Kiggell
班戈 Banquo
畢業於倫敦音樂戲劇學院。劇場作品有《特洛勒羅斯與克瑞西達》、《奧賽羅》（秤不離砣 劇團）；《不可兒戲》（攝政公園露天劇場）；《難以預料》、《艾美的觀點》（加里克劇場）； 《華倫夫人的職業》（巴庫皇家劇院）及《李爾王》（皇家莎士比亞劇團）。電視作品包括 《戰地神探》、《暴君亨利》、《收穫》、《沉默的證人》、《荷比市》及《審判與懲罰》。
電影作品有《榮耀三九年》及《愛．誘．罪》。
Kiggell trained at LAMDA. Theatre includes Troilus and Cressida, Othello (Cheek by Jowl), The Importance of Being Earnest (Regents Park Open Air Theatre), You Never Can Tell, Amy’s View (Garrick Theatre), Mrs Warren’s Profession (Theatre Royal Bath) and King Lear (RSC). Television includes Foyle’s War, Henry: Mind of a Tyrant, Harvest, Silent Witness, Holby City and Trial and Retribution. Film includes Glorious 39 and Atonement
文森．恩德比
Vincent Enderby
鄉紳 Thane
2009年畢業於倫敦中央聖馬丁藝術設計學院的戲劇中心。劇場作品包括《巴爾的摩 旅店》、《哈姆雷特》、《廚房》、《坦圭雷第二夫人》、《政府稽查員》、《橫衝直撞 偷錯情》、《換命謊言》、《洪堡王子》、《醒來歌唱！》、《三姐妹》（戲劇中心）； 《兒童》、《熱情》及《傳遞》（布里斯托老域青年劇團）。
Enderby trained at the Drama Centre London and graduated in 2009. Theatre includes The Hotel Baltimore, Hamlet, The Kitchen, The Second Mrs Tanquery, The Government Inspector, A Flea in Her Ear, The Changeling, The Prince of Homburg, Awake and Sing!, Three Sisters (Drama Centre), The Children, The Passion and Pass it On (Bristol Old Vic Youth Theatre).
