Editing Macbeth (section)

===Restoration and eighteenth century===
{{quote box|width=23em|The chill of the grave seemed about you when you looked on her; there was the hush and damp of the charnel house at midnight ... your flesh crept and your breathing became uneasy ... the scent of blood became palpable to you.|—Sheridan Knowles on [[Sarah Siddons]]' sleepwalking scene{{sfn|Williams|2002|p=119}}}}

All theatres were closed down by the [[Puritan]] government on 6 September 1642. Upon the [[English Restoration|restoration]] of the monarchy in 1660, two [[patent theatre|patent companies]] (the [[King's Company]] and the [[Duke's Company]]) were established, and the existing theatrical repertoire divided between them.{{sfn|Marsden|2002|p=21}} [[William Davenant|Sir William Davenant]], founder of the Duke's Company, adapted Shakespeare's play to the tastes of the new era, and his version would dominate on stage for around eighty years. Among the changes he made were the expansion of the role of the witches, introducing new songs, dances and 'flying', and the expansion of the role of Lady Macduff as a foil to Lady Macbeth.{{sfn|Tatspaugh|2003|pp=526–527}} There were, however, performances outside the patent companies: among the evasions of the Duke's Company's monopoly was a puppet version of ''Macbeth''.{{sfn|Lanier|2002|pp=28–29}}

''Macbeth'' was a favourite of the seventeenth-century diarist [[Samuel Pepys]], who saw the play on 5 November 1664 ("admirably acted"), 28 December 1666 ("most excellently acted"), ten days later on 7 January 1667 ("though I saw it lately, yet [it] appears a most excellent play in all respects"), on 19 April 1667 ("one of the best plays for a stage ... that ever I saw"), again on 16 October 1667 ("was vexed to see Young, who is but a bad actor at best, act Macbeth in the room of [[Thomas Betterton|Betterton]], who, poor man! is sick"), and again three weeks later on 6 November 1667 ("[at] ''Macbeth'', which we still like mightily"), yet again on 12 August 1668 ("saw ''Macbeth'', to our great content"), and finally on 21 December 1668, on which date the [[Charles II of England|king]] and court were also present in the audience.{{sfn|Orgel|2002|p=155}}

The first professional performances of ''Macbeth'' in North America were probably those of [[Old American Company|The Hallam Company]].{{sfn|Morrison|2002|pp=231–232}}

In 1744, [[David Garrick]] revived the play, abandoning Davenant's version and instead advertising it "as written by Shakespeare". In fact this claim was largely false: he retained much of Davenant's more popular business for the witches, and himself wrote a lengthy death speech for Macbeth. And he cut more than 10% of Shakespeare's play, including the drunken porter, the murder of Lady Macduff's son, and Malcolm's testing of Macduff.{{sfn|Orgel|2002|p=246}} [[Hannah Pritchard]] was his greatest stage partner, having her premiere as his Lady Macbeth in 1747. He would later drop the play from his repertoire upon her retirement from the stage.{{sfn|Potter|2001|p=188}} Mrs. Pritchard was the first actress to achieve acclaim in the role of Lady Macbeth&nbsp;– at least partly due to the removal of Davenant's material, which made irrelevant moral contrasts with Lady Macduff.{{sfn|Gay|2002|p=158}} Garrick's portrayal focused on the inner life of the character, endowing him with an innocence vacillating between good and evil, and betrayed by outside influences. He portrayed a man capable of observing himself, as if a part of him remained untouched by what he had done, the play moulding him into a man of sensibility, rather than him descending into a tyrant.{{sfn|Williams|2002|p=124}}

[[John Philip Kemble]] first played Macbeth in 1778.{{sfn|Williams|2002|p=125}} Although usually regarded as the antithesis of Garrick, Kemble nevertheless refined aspects of Garrick's portrayal into his own.{{sfn|Williams|2002|pp=124–125}} However it was the "towering and majestic" [[Sarah Siddons]] (Kemble's sister) who became a legend in the role of Lady Macbeth.{{sfn|Potter|2001|p=189}}{{sfn|Williams|2002|pp=125–126}} In contrast to Hannah Pritchard's savage, demonic portrayal, Siddons' Lady Macbeth, while terrifying, was nevertheless&nbsp;– in the scenes in which she expresses her regret and remorse&nbsp;– tenderly human.{{sfn|Moody|2002|p=43}} And in portraying her actions as done out of love for her husband, Siddons deflected from him some of the moral responsibility for the play's carnage.{{sfn|Williams|2002|p=125}} Audiences seem to have found the sleepwalking scene particularly mesmerising: [[William Hazlitt|Hazlitt]] said of it that "all her gestures were involuntary and mechanical ... She glided on and off the stage almost like an apparition."{{sfn|Gay|2002|p=159}}

In 1794, Kemble dispensed with the ghost of Banquo altogether, allowing the audience to see Macbeth's reaction as his wife and guests see it, and relying upon the fact that the play was so well known that his audience would already be aware that a ghost enters at that point.{{sfn|McLuskie|2005|pp=256–257}}

Ferdinand Fleck, notable as the first German actor to present Shakespeare's tragic roles in their fullness, played Macbeth at the Berlin National Theatre from 1787. Unlike his English counterparts, he portrayed the character as achieving his stature after the murder of Duncan, growing in presence and confidence: thereby enabling stark contrasts, such as in the banquet scene, which he ended babbling like a child.{{sfn|Williams|2002|p=126}}