Remarkably, 2022 is the first time in history David Tennant, revered actor (let alone a Scottish one), has taken on the iconic role of Macbeth. A starring turn in Hamlet which not only propelled him to acting royalty, but also helped make Shakespeare cool again, meant really it would only be a matter of time before he delivered his take on The Scottish Play.

You don’t need reminding of the plot: Shakespeare’s second biggest tragedy is arguably one of his most respected, with themes of revenge and insanity running throughout.

Macbeth as a character is, well, complex, something Tennant clearly enjoys as an actor. He’s no stranger to the Bard, of course, but it feels like at this time in his career, Tennant is perfectly positioned to take on the role – and not just because it allows him to use his natural accent. A would-be hero with inner torment and tyranny? Sounds right up his street.

The first act opens as the original script does, with the witches swirling and whirling around in your ears. Utilising unsettling voice effects, the terrible trio cast their damning spells over the play. Somehow, their scene – which is really quite visual – becomes even creepier in the audio format. Their voices are twisted and manipulated to such a great extent that they feel alien and unknown. Add in some extra special effects and it’s truly a bizarre opening – as it should be. When they speak with Macbeth, their voices blend into each other and it’s unclear whether you’re listening to Witch 1, Witch 2 or Witch 3.

From there on, the play simply becomes more gripping and creepy. When I first approached Macbeth many years ago, it always felt like a play that needed to be seen, but no, this is a play that needs to be heard. Where treachery, secrecy and confusion are all done behind closed doors in Macbeth, whispered conversations are incredibly effective in this radio play. Unlike a staged version, the listener feels like a fly on the wall, listening into Lady Macbeth (played by Daniela Nardini) and her husband’s hushed treason. The words in the script become more powerful than before. In a play that can be at time overshadowed by its grotesque witches and bloody battles, the gentler, more introspective moments take centre stage in this radio adaptation – and it’s all the better for it.

The highlights, as with most Shakespearean productions, are the soliloquies. Tennant delivers Macbeth’s most famous lines with style and ease. The best Shakespearean actors make the Bard’s words easier to understand, and Tennant, it has to be said, is one of the very best. Delivered slowly and with purpose, Macbeth’s words flow out of Tennant’s mouth with poetic fluidity. He’s matched excellently by Nardini as Lady Macbeth, who captures the insanity of the tortured character with a haunting beauty.

Soliloquies here are whispered and private. In a remarkable feat of skill, the talented team behind this production create distance when they need to, but also successfully bring intimacy. This smart approach brings about the feeling that we’re inside Macbeth’s head when he’s pondering the great quandaries of the play. It gives the impression no one else can hear him – an impressive thing to do when delivering a soliloquy without actually showing that Tennant is alone on stage.

In the second act, the action becomes more desperate and frantic. It requires you to sit and pay attention, but by this point, you’ll want to. What makes the audio play more interesting than a visual portrayal is actually how confusing and claustrophobic the action is. When Macbeth sees the ghost of King Duncan but no one else can see it – including, in this instance, the audience – Macbeth’s madness takes on another level. He’s truly lost it, and it’s hard to feel any remorse for him which one might while physically watching the performance. If there was even a smidge of redemption for Macbeth in the original text, it’s lost here.

Not that this is necessarily a bad thing. Macbeth’s confusion and turmoil is the strength of The Scottish Play. Unlike Henry V or Richard III, Macbeth is a tormented ruler, and most definitely a flawed one. Being able to see the ghosts lets us inside his mind, and almost allows us to empathise with the character. Not seeing the ghost adds distance between us and Macbeth. His madness is more pronounced and way more effective – another strength in Tennant’s portrayal. His portrayal is relentless, passionate and simply one for the ages.

It’s hard to find fault with this adaptation. While Tennant undoubtedly steals the show, the cast around him are just as strong – and despite the twists introduced in the audio format, it’s a faithful adaptation, with every part of Shakespeare’s text being scrutinised by the talented troupe. If you’re looking to reconnect with Shakespeare, there’s no finer way to reintroduce yourself to his First Folio, which turns 400 next year.

Macbeth airs on BBC Radio 4 at 3pm today (23rd April). Find something to watch now with our TV Guide.