Macbeth
A great sense of trepidation filled this critic on Macbeth’s press night. At first glance, it seemed that Richard Twyman’s production might fall into the trap of style over substance. The great relief, however, is that the English National Theatre has delivered a daring, inventive, and energetic take on the tragic tale, with one or two masterstrokes that set it apart.
Set within a militia group’s hideout, Twyman’s production has more in common with Alex Garland’s Civil War or HBO’s The Last of Us than a traditional staging of Macbeth. This setting effectively underscores Macbeth’s descent into violence and hallucinations, presenting a raw, brutal take on the play’s themes. Special praise must go to Will Duke for their dynamic video design, which is cleverly integrated as CCTV footage or live-streamed via a mobile phone on the top right-hand side of the set. This technique lends a sense of intimacy to pivotal scenes, such as Macbeth and Lady Macbeth’s plot to kill Duncan and the murder of Lady Macduff, while also being visually striking.
In the central role, Alex Austin portrays Macbeth with a modern swagger and an arrogant lust for power. He brings a sense of naivety that Lady Macbeth—played with both gusto and malevolence by Lois Chimimba—expertly molds and manipulates throughout Act 1. It’s a unique interpretation that works well alongside his more manic and chillingly violent moments. His final speech (Tomorrow, and tomorrow, and tomorrow…) is delivered in the foetal position, giving it a childlike vulnerability that is both brave and affecting.
The ensemble is also highly commendable, with seamless scene transitions and a strong camaraderie among the cast, particularly evident in the play’s opening. I was especially impressed with how the verse and prose were delivered in a naturalistic manner, making the production more accessible without losing the poetry of Shakespeare’s language.
From a directorial perspective, Twyman does an excellent job of setting the show’s tone. Notably, the Weird Sisters—typically portrayed as supernatural witches—are absent. Instead, Macbeth’s prophecy occurs offstage, before the play begins, and the witches’ presence exists largely in his mind. However, the production’s strongest aspect is Bella Aubin’s mesmerising portrayal of Malcolm.
By gender-swapping the role, Twyman introduces an explosive new dynamic, which, in my opinion, enhances the play. In Act 2, the dynamic between Macduff and Malcolm mirrors that of Lady Macbeth and her husband, adding another layer to the play’s exploration of power struggles and the lust for status. Aubin’s performance is commanding, her delivery sharp and compelling.
That said, not everything works. There are a few instances of audience interaction—most notably a scene where Macbeth invites two audience members to be guests at his banquet—that feel out of place. Dare I say, these moments felt more & Juliet than the Bard. Additionally, the occasional use of modern vernacular felt unnecessary, given how effectively the original text was handled.
However, these are minor quibbles in what is ultimately a bold and thrilling production—one that respects Shakespeare’s text while having the courage to leave its own creative mark. Something truly wicked, in the best sense of the word!
This show was reviewed on the 5th March 2025 at the Lyric Hammersmith Theatre, London where it runs until the 29th March 2025. Tickets available here: Macbeth - Lyric Hammersmith
Review written by Alex Farley
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Photo credit : Richard Lakos
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