Layered with subtext, sharp satire, and thought-provoking questions about Macbeth’s relevance in today’s world.
Richard Twyman’s production of Macbeth at the Lyric Theatre in Hammersmith is steeped in a world of subtext, yet this is paired with a simultaneous satirising of the seriousness of the context. The opening scene radically departs from tradition by eliminating the three witches and replacing them with a modern interaction where Lady Macbeth (Lois Chimimiba) listens to a voicemail from Macbeth (Alex Austin). This departure from the original structure is the first signal of the production’s intention to reframe the play for a contemporary audience.
Due to the production’s attempts to highlight the familial dynamics between characters, it struggles to maintain a consistent sense of hierarchy and power. The central premise of Macbeth—the pursuit of kingship and the madness it fosters—loses some of its weight in this retelling. When King Duncan (Daniel Hawksford) is introduced, his royal status is diminished by the contemporary context, where characters casually embrace and drink together. While Hawksford holds his own with a natural knack for Shakespeare and a consistent stage presence, the erasure of traditional power structures reduces the tension behind Macbeth’s desire for status
and power. Additionally, the relationship between Lady Macbeth and Macbeth felt more defined by lust and proximity than by love or power. With the absence of the witches and a lack of urgency, the audience is left questioning the stakes and motivations behind the characters’ actions. There is no clear explanation as to why Macbeth must become king or why Lady Macbeth pushes him toward this goal.
Twyman’s vision is strong, particularly in creating a surveillance-heavy atmosphere enhanced by Basia Binkowska’s set design and the theme of psychological confinement. Through the use of cameras, microphones, and shadows, Binkowska amplifies the haunting and cynical undertones of the world the characters live in. This design effectively modernises the play, providing depth and creating a stifling and restrictive environment of constant surveillance- a jab at the society in
which we live in under the influence of media.
The production, which features only 9 actors, repurposes many characters, leaving the audience to question the reasoning behind certain choices. For instance, Duncan’s dead spirit is reframed as a murderer in an intimate scene with Macbeth, which raises questions about the intentions behind this decision and an additional inclusion of the supernatural. Bianca Stephen’s portrayal of multiple characters was grounded and consistent while maintaining necessary layers of tension and realism, particularly in the Lady Macduff scene, where her relationship with her son was touching and sincere. Lois Chimimiba’s portrayal of Lady Macbeth also stood out, adding a cruel layer of satire in her role as both murderer and warning figure.
One aspect of the production that faltered consistently was the break of the fourth wall. The inclusion of a drunken etude by Ross (Sophie Stone) and engagement with the audience felt confusing and unnecessary regardless of Stone’s beautiful and committed physicality and flow. A second break, with Alex Austin engaging with the audience as Macbeth before entering the banquet scene, undermined the weight and ridicule of Macbeth’s descent into madness. While Chimimiba effectively engaged with the stakes of her character’s loss, the tonal shift left the audience questioning the world in which these characters exist. Are they soldiers, warriors, or peers? Is there a kingdom? Why does Lady Macbeth have a vape and nail extensions? Where and when in the world are they?
The production’s design elements and modern interpretations bring layers of subtext and intention to the forefront. The cast’s cohesive energy is evident, and it’s clear they found joy in their relationships with the production. This Macbeth offers a multi-faceted exploration of humanity, but its dissonant style and lingering uncertainty leave much to be desired. The production is worth a watch as it raises questions about Macbeth and its role in our contemporary world alongside the conversations it may invite.