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“Macbeth an Undoing” is a bold and thought-provoking experiment that pushes the boundaries of Shakespearean adaptation

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Macbeth (an undoing), Zinnie Harris’ latest adaptation and staging of Macbeth, is a bold reinterpretation of Shakespeare’s timeless tragedy. Such an undertaking is not without risk; playwrights who attempt to rewrite works with a VIP status tread a fine line between homage and sacrilege. However, Harris confidently accepts this challenge, by adding a new dimension to the immense collection of reinterpretations of Macbeth: a distinct feminist agenda that challenges traditional power dynamics and narratives within the western dramaturgy. Layer after layer she transforms characters, she reimagines possibilities, she questions roles, she plays with balance between dominant and subordinate inside the criminal couple. In Harris’ universe, it is Macbeth (Adam Best) who will lose his mind under the burden of guilt, while Lady Macbeth (Nicola Cooper) takes over the throne. This reversal of roles sets out to serve as a commentary on gender and power, inviting audiences to reconsider the archetypal dynamics of Shakespeare’s original text. Harris does not stop there. While Lady Macbeth’s ascent to power is undisputable, her marginalization within the male-dominated world of the play raises questions about the limitations of female agency, even when in power. 

 From the start, it becomes clear that Macbeth (an undoing) is not your typical Shakespearean affair with a terrific Liz Kettle, as main witch, servant, and mad woman, delivering a knock knock joke. However, it often feels that the departures from the traditional Shakespearian canon are forced and end up on many occasions working against the intended agenda. The juxtaposition of Shakespearean text with a modern one lacking in poetry and depth creates a disruptive effect over the narrative flow that undermines the plot in climatic moments. The result is a fragmented experience, reminiscent of a 1920s period drama gone wrong. The supernatural is ditched in favour of a weak allusion to social hierarchy when witches turn into servants. The backstories appear, at times, dull, unsatisfyingly adding to the length of the production. The metatheatrical interventions are not always desirable as too often the characters seem to come out of their roles. The feminist manifesto is challenged by the contrast between Lady Macbeth and Lady MacDuff, emphasising thematic antithesis such as power vs motherhood, enforcing gender stereotypes more than liberating the narrative of any.

Nicola Cooper’s portrayal of Lady Macbeth is the highlight of the production. Her commanding presence and brilliant performance breathe new life into the character, offering layers of complexity and vulnerability. Her acting is supported by a great cast and by Tom Piper’s clever set design, Lizzie Powell’s atmospheric lighting, Pippa Murphy’s soundscapes, and Oğuz Kaplangi’s haunting music.

Overall, “Macbeth an Undoing” is a bold and thought-provoking experiment that pushes the boundaries of Shakespearean adaptation, and it deserves our appreciation for adding new dimensions to a story told so many times before, despite leaving us feeling that it does not entirely hold up.