“A lively and imaginative Macbeth where tragedy meets humour in unexpected ways.”
Attending Macbeth by Shakespeare in the Squares at the Actors’ Church felt like stepping into a reimagined world where tragedy meets humour head-on. Known for their vibrant summer outdoor productions, this was my first experience of their winter season, and I was intrigued by the concept of a scaled-back, touring production of Macbeth. Director Sioned Jones’s vision promised an unconventional approach, and the result was certainly thought-provoking, if not always cohesive.
From the outset, it was clear that this Macbeth wasn’t going to be conventional. The tone leaned heavily into humour, which is a tricky balance in a tragedy. I found myself thinking of the Coen Brothers’ O Brother, Where Art Thou? (with their comic reimagining of Odysseus) as there were moments when I half-expected Macbeth to turn and say, “I’m a Dapper Dan man!” This playful tone gave the production a fresh energy, but it also made the transition to the darker, weightier parts feel abrupt and unbalanced.
The witches were a perfect example of this playful reinterpretation. Reimagined as flirtatious old spinsters, they felt more like gossiping neighbours than sinister figures of fate. Their fortune-telling, done through cards and tea leaves, added an earthy, mundane quality that was amusing but lacked menace. Molly Walker, one of the witches, brought a clever moment of humour when she transitioned into another role, quickly hiding her headscarf as if revealing the witches’ secret
Lady Macbeth, played by Cathy Walker, was another standout, though her approach was more frantic than commanding. She seemed almost like she was micromanaging the play at times, her energy frenzied as she pushed Macbeth forward. I did appreciate the early scenes between her and Macbeth, where their relationship felt genuine and touching, but as the play progressed, her descent into madness felt exaggerated and less impactful.
Gavin Molloy’s Macbeth had moments of charm, particularly in the earlier scenes. While he clearly worked to make Macbeth relatable, I missed the layers of complexity and inner turmoil that make the character so compelling.
Mohab Kaddah brought a spirited energy to his roles, particularly shining in the comedic moments, though his more serious scenes lacked the gravitas needed to fully land their emotional weight.
For me, the evening’s highlights came from the multirole performances. Molly Walker was exceptional, jumping seamlessly between characters and injecting life into every role she took on. Her Porter scene was especially brilliant, with a mix of knock-knock jokes. Sam D’Leon also impressed, particularly as the First Murderer, where he relished the role’s bloodthirsty nature. Both actors showcased incredible versatility, and their energy kept the production moving.
The use of the audience as part of the play added a unique touch. We were high-fived, spoken to directly, encouraged to clap, and even asked to repeat lines. It was entertaining but it felt more like a pantomime than Shakespeare.
The biggest challenge for me was the tonal shift between the comedy and the serious moments. The soliloquies, particularly, struggled to find their place in the production’s lighter tone. Macbeth’s final soliloquy, after Lady Macbeth’s death— “It is a tale told by an idiot”—stood out as an exception. Here, the word “idiot” resonated in the context of the play’s comedic elements, almost reframing Macbeth as a tragic fool in a way that felt oddly fitting.
Overall, Shakespeare in the Squares’ Macbeth was an ambitious project that delivered clever moments and lively performances, even if it didn’t fully balance its bold tonal choices. It’s a Macbeth that isn’t afraid to take risks, and while not every gamble paid off, it offered a fresh take on a classic tale. For those looking for something different, this production certainly delivers plenty to talk about.