‘Macbeth (an undoing)’ by Zinnie Harris is a new play that reimagines the famous Shakespearean tragedy. The story starts very loyal to the original text. The deviation only begins when Macbeth returns home from battle, a thane of Glamis and Cawdor with the promise of becoming king. Harris’s work explores the gender roles within the narrative as well as creating new connections between characters that raise the stakes whilst inviting the audience to view the story of Macbeth from an entirely different angle that suggests part of the tale has always been concealed from us. ‘Macbeth (an undoing)’ is written and directed by Zinnie Harris and can be seen at The Royal Lyceum Theatre in Edinburgh from 4th – 25th February 2023.
Harris’s writing cleverly blends the language of Shakespeare with more contemporary speech and in doing so, builds a world in which a believable alternative story can be told. Macbeth and his lady both maintain their original personalities, however they find themselves switching positions of power and experiencing new realms of guilt and trauma from the crimes they commit. It’s exciting to see how these iconic characters fare when being pushed down their partner’s path instead. Lady Macbeth becomes obligated to fulfil the duties of a king, whilst her husband paces the corridors and is branded insane by their subjects. Their journey from an ambitious couple to tormented royals with a twist is fascinating to see. Harris also knows when to add a healthy dose of comedy and when to linger in the more intense moments. Her use of tone is excellent.
The run time of the production is around 2 hours and 35 minutes, (plus a 20-minute interval), yet Harris’s direction results in such escapism that the production does not feel the length that it is at all. There is a slight pacing issue with one of the final scenes, where the Macbeths ultimately meet their demise. It’s a point in the play where numerous confrontations happen, and the suspense seems to last a little too long. However, the storytelling overall is brilliantly slick.
The play also has a cast of truly exceptional actors. Every one of them plays their role with captivating conviction. Adam Best gives a harrowing performance as a man tormented by the spirits of those he’s killed. His Macbeth mixes vulnerability with ruthlessness beautifully. His breakdowns are a chilling thing to see. Jade Ogugua, Marc Mackinnon, and James Robinson all deliver charismatic portrayals of Lady Macduff, Duncan, and Banquo respectively. Then it is Nicole Cooper who plays Lady Macbeth in a manner so compelling that as an audience member you feel simultaneously frustrated for her and by her. Lady Macbeth’s story is the focus of the show, and Cooper ensures the audience’s commitment to it throughout. Her take on the lady is fresh and original. She embraces all the qualities
that make her so complex. We see her sensitivity, her charm, but also her cruelty and rage. It’s a remarkable performance.
The chemistry between actors is also something worth noting. Cooper and Best work wonderfully as a married couple. A particular highlight of the play is the relationship between Lady Macbeth and Lady Macduff. Macduff who is typically regarded as a foil to Lady Macbeth, becomes her sister in this adaption. (Well, they are cousins officially, but they claim to be as close as sisters.) It’s a change which brings a whole new tension and conflict which Ogugua and Cooper portray superbly. Plus, it adds some new female interaction which is exciting in a usually male-dominated plot.
In addition to the performers, the set – designed by Tom Piper – is very well done. The mirror panels act as walls whilst representing the fear that never leaves the Macbeths once they pursue their ambitions. The mirrors reflect the couple’s misdeeds and refuse to let them hide from those sins or themselves. The back of the stage appears as a shadowy abyss that gives a sense of the unknown, which feeds into the paranoia that stops the Macbeths from enjoying their reign. It also adds to the supernatural aspect of the show that’s ever present due to the weird sisters who also act as household staff.
Finally, the use of blood in this play is great. Macbeth has a reputation for being one of the gorier tragedies and this retelling does not alter that. Blotches of blood will often appear on actors at random moments, and it appears as if by magic. The application of the blood is impressively discreet and will have the audience questioning how and when it got there. The use of it in death scenes is also very well done. There is a point where the blood is left to trickle down the stage which resulted in audible horror from the auditorium.
Overall, ‘Macbeth (an undoing)’ is a stirring and mesmerizing new play that may well inspire a whole new approach when it comes to adapting the works of William Shakespeare.
Get your tickets here:
https://lyceum.org.uk/whats-on/production/macbeth-an-undoing
Theatre Scotland 
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