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Name: Lucia
Years old: 24

It is hard enough to get children to watch Shake-speare without waving bloodied embryos and sexagenarian todgers at them.

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Followed last week by a letter from the RSC warning that the play would now include scenes of a graphically "violent and sexual nature" and was no longer considered suitable for children. And just what, if we ignored the warning and went anyway, were we going to see?

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Why had they been selling tickets - including, presumably, many to school parties - before deciding what to put on stage? Yet those who find a kind of sweaty desperation in these resorts to licence, are routinely dismissed as prudes and philistines.

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One such GCSE "study guide" published last year has Juliet cooing: "Give us a snog, then, Romeo"; while Lady Macbeth, upon learning of her husband's reluctance to have Duncan killed, chants: "Cowardy, cowardy, custard. None of which is to suggest that Shakespeare ever seriously imagined anyone playing the scene in the nude, or that the play has been diminished by the failure of generations of Lears to strip off.

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At her dying son's behest, Lady Macduff flees the scene, with the stage notes reading: "Exit Macduff's wife crying 'Murder! According to my copy of the Collected Works, Shakespeare conspicuously avoids showing this particular murder.

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Frankly, I'd rather have my Shakespeare back. From what I could discover, and I have only been able to discover so much, the big problem is with the murder of Lady Macduff in Act 4.

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The tickets arrived. Two obvious questions arose.

Controversy over second age production of macbeth

Whipping off his kingly regalia, Sir Ian, 67, gives the audience a lengthy in every sense, I'm told display of full-frontal nudity, and once again the context is being held up as justification. Heavily pregnant, she is apparently sliced open by Macbeth's goons, amid much blood, gore and foetal writhings.

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Strong stuff, indeed, but surely justified by our old pal "the context". I have always had a soft spot for Lady Macbeth, the original desperate housewife, and held her husband's horrible fate up as a good example of the consequences of henpecking. This time, admittedly, the director, Sir Trevor Nunn, is on firmer ground.

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Our struggling schools are increasingly taking the view that the Bard is all too much trouble, and either abandoning the works entirely, or dumbing them down to the level of soap opera. There's another problem. The RSC has kindly offered me my money back.

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The answer, I suppose, is that the murders and eye-gougings are simulated, while the nudity is real. All this came into sharper focus last week with the excited reports of our foremost thespian, Sir Ian McKellen, appearing starkers in the RSC's new version of King Lear.

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Or is it? Shakespeare, we are always told, is ageless, which I wrongly assumed meant that it appealed to all ages, and, with this in mind, I resolved to take my year-old son to the RSC's forthcoming production of Macbeth. On the radio last week I heard a man demanding to know how anyone could possibly object to a spot of nudity in a play full of murders and eye-gougings?

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