The presence of blood-soaked, scarlet-red curtains can mean only one thing, something wicked this way comes to the Rose Theatre. Macbeth (an Undoing) is Zinnie Harris’ ambitious reimagining of the classic Shakespeare tragedy where this time “Lady Macbeth takes centre stage” but does this undoing unravel too much of what we love about the Scottish play?

The play opens with an address from the acerbically witted Carlin (dazzling played by Liz Kettle) who invites the audience into the world of this Macbeth from her witch/servant’s perspective. In future iterations of Macbeth (an Undoing) it would be fascinating to see the story from this unique perspective as this is an intriguing character summoned up by Harris. Additionally, Malcolm played by Star Penders as a bored and completely ‘over it’ adolescent is really entertaining. The supporting cast do a stellar job, with a notable mention to Emmanuella Cole who really shines in the updated role of Lady Macduff. Another formidable character in this production is the set itself, designed by Tom Piper which boasts simplicity, sharpness and grandeur with a particularly effective use of, unusually but aptly, theatrical plumbing.

Unfortunately, the two leads, Adam Best as Macbeth and Nicole Cooper as Lady Macbeth, don’t leave as lasting an impression. There is simply not enough palpable tension and feeling in Harris’ direction, especially in the lead-up to the murder of King Duncan. These are arguably some of the most thrilling and blood-curdling scenes in the Western theatrical canon, yet they are sped through curtly and not given enough emotional weight. Lady Macbeth’s “unsex me here” monologue (whispered by aspiring actors across the globe) is somewhat rushed and lacks that delicious internal confrontation. Macbeth, however, you wish ‘undo’ it, is a human tragedy, exploring the failure of humanity and human kindness over power and to deprive Macbeth of its stakes and dramatic tension is to do it a disservice.

Macbeth (an Undoing) does have some curious and intriguing moments where Harris makes some interesting changes that, if standing alone, would have made for a palpable retelling and compelling discourse. Instead of Lady Macbeth dissenting into her “out damned spot” state, Macbeth himself is now the figure that descends into ‘madness’. Harris makes the point that the woman, Lady Macbeth, stayed strong and stoical whilst others crumbled around her, and smart takes such as these are the highlight of the piece.

However, the plot becomes murky and mired in the second act, veering into the absurd and feeling like a heavy hour. The tone and atmosphere of the piece feels unsettled as ‘comedic’ and random instances of suddenly breaking the fourth wall get muddled in with moments of murder and depravity. Without divulging too many spoilers, when the straitjacket and mouthguard make an entry, it really loses audiences.

If you’re expecting Macbeth, you won’t really find it in this show, but there are some interesting moments that give pause for thought. Unfortunately, there is no great sense of ‘tragedy’ in Shakespeare’s greatest tragedy, Macbeth (an Undoing) is a triumph of concept over content and leaves more confusion than catharsis.

Macbeth (an Undoing) is playing at the Rose Theatre, Kingston until the 23rd of March, 2024 before heading on tour.

*** Three Stars

Reviewed by Nancy Brie

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