★★★☆☆
Watching Macbeth at the Kings Arms in Manchester feels less like observing a distant Shakespearean tragedy and more like being pulled into an unsettlingly familiar political nightmare.
This Coolcat production by Faye Alexandra (also a production designer and Lady Macbeth) and Aidan Burges (also a director and Macbeth) places the well-known story in a modern frame, drawing a contrast between, as it seems, “gentlemen” and “lads” – a divide that still feels current. This is not Macbeth as an untouchable classic, but Macbeth as a living text. The language appears subtly reshaped to sound more accessible to an audience, without losing its Shakespearean weight though. This gives a slight impression of a new reading rather than a blind adaptation.
Despite its modern framing, this production remains closely tied to the classical plot. The familiar trajectory: prophecy sparking ambition, ambition turning into cruelty, and power ultimately leading to total loss. Even though the story is centuries old, visually, this production is sharp and political. The poster slogan, “All Hail Macbeth”, is impossible to ignore, instantly evoking images of modern politics, protests, and propaganda. The depiction of political rivalry between families and countries feels disturbingly relevant. The cruelty of Macbeth’s world feels painfully close to the violence of political events unfolding across the globe today. It sends chills down the spine, and not only because of what is shown on stage, especially Callum Burbidge’s fantastic portrayal of Macduff, whose raw grief and moral clarity provided one of the most affecting moments of the play, but because of what is left unseen. The audience fills in the gaps, and what we imagine may be more disturbing than what we see.
The intimate, chamber-like atmosphere of the Kings Arms makes the drama hit harder. There is no distance, no safe space for the audience to retreat into. Violence, ambition, and moral decay unfold almost uncomfortably close, making every moment more intense and personal. One particularly striking parallel with the modern world lies in the symbolism of guilt. In the play, guilty characters obsessively try to “wash their hands”. In reality, those in power rarely do. In his hunger for power, Macbeth sacrifices everything, his morality, loyalty, and humanity, but in the end, he loses it all. The production reminds us that while scenarios change, the mechanics of power, violence, and downfall remain painfully constant.
The witches (Molly Keir-Barton, Niamh Brockbank, and Izzy Sniezek) add a strong mystical note, embodying despair, prophecy, and inevitability. Visually and conceptually, they seem to have stepped straight out of Shakespeare’s pages: natural, magical, and otherworldly. However, this choice creates a sharp contrast with the otherwise modern aesthetic of the production. If the story is being told through a contemporary lens, one might expect the witches to be reimagined accordingly. As a result, these elements stand out, but not necessarily in an appealing way.
Nevertheless, dark, intimate, and politically charged, Macbeth at the Kings Arms proves that Shakespeare doesn’t need updating to feel relevant; he only needs to be listened to.
Macbeth runs at the Kings Arms, Salford until February 5.
Photo: Coolcat Productions / Heirloom Theatre
JADAR 