Whether it was the spine tingling ending, or the sheer power of raw emotion funnelled into the principal actor’s every word, Coriolanus was another success from the National Theatre Live, brought to millions through the cinema screen once again. The bloody scene setting was visceral and powerful in visual effect, yet it seemed distinctly modern, unlike the play itself.

Tom Hiddleston played the enigmatic and emasculated Caius Martius Coriolanus, simultaneously depicting the character’s strength in battle in contrast with his subservient existence under the thumb of his overbearing mother, Volumnia, played by Deborah Findlay. There were occasional moments of gentle humour, such as the instance when Coriolanus was proudly shouting his wartime achievements, only to turn to find his mother stood behind. He then presently apologised, indicating to the audience the intimidation he felt from Volumnia.

Undoubtedly, the performance was a standout production in my eyes simply because of the thread of visual irony that continued from the opening scene to the dramatic closing. The play opened with Caius Martius covered in the blood of his adversary, Aufidius, played by Hadley Fraser. He then progressed to earn the title of ‘Coriolanus’ as the play continued. At the end Aufidius cruelly murders Coriolanus, covering himself in the latter’s blood as he hung, upside down, from the ceiling by his feet. This struck me as a very modern twist on Shakespeare’s tragic play, and brought the deathly images created throughout the tale into the modern day, paralleling it with tones of 21st century warfare practices.

The play was shown in the Donmar Warehouse of Covent Garden, London. As a staging space, the warehouse is out of the ordinary, given the sparse decoration and intimate 250-seat capacity. The walls were splashed with graffiti, which shifted and changed as the play progressed, tinting the story with a very contemporary edge.

But is this sculpting of a modern version of a Shakespearean classic really as successful as desired? To some, it may seem appropriate to leave the tale encased in Renaissance clothing and setting, to match the language and writing of Shakespeare. But to many, the modernistic depiction of such a classic play is its saving grace. It almost makes the tale more attractive, more alluring, and also easier to understand and interpret.

Whilst the Donmar left the language as pure Shakespearean verse, I felt that the modern dress and staging was beneficial to my own understanding of the plot and characterisation, whilst also giving the play the edge of danger and darkness of modernity. Suddenly Coriolanus was not just appearing on stage covered in blood, but was appearing recognisably as a soldier who had just battled his enemy and won, even if I hadn’t quite caught the words spoken.

All in all, the Donmar’s fantastic interpretation of Shakespeare’s Coriolanus was impressive, and certainly a must-see if, for nothing else, to see the special "charisma and emotional truth" of Hiddleston’s performance, as Charles Spencer commented for The Telegraph after seeing the play shown live in 2013. He is right. Tom Hiddleston is unflinchingly raw and truthful in his performance, triumphing over the other characters, as well as the actors/actresses playing them. It is fitting that the play was named ‘Coriolanus’, given that the titular character is the driving force behind the drama as it unfolds, as well as being performed by such a talented and compelling actor as Hiddleston.

Coriolanus is screening in select cinemas until 12th November.