Having previously impressed our Magazine 6000 reviewers not just once but twice, Lady Macbeth Played Wing Defence has scored a hat-trick on its third review! Admittedly, I knew this show would be a goodie—the rave reviews have been abundant for CRASH Theatre Co’s first musical endeavour, alongside multiple awards and a national tour. If the title doesn’t give it away, the show recontextualises Shakespeare’s Scottish Play, putting Lady Macbeth at the centre as a high-school netball player determined to make herself captain, no matter the cost or human collateral.
Writer Courtney McManus has succinctly taken this five-act mega-story and condensed it into a neat hour-long production packed with humour while still delivering the quintessential (and recognisable) elements of the original text. Combined with Bec Price’s composition (and direction), the show is elevated by super catchy earworms that bring a different dimension and depth to the storytelling. As a duo, Bec and Courtney remind us that simplicity is key to a successful adaptation or retelling. The production feels smooth and unconvoluted—everything Shakespeare tends not to be!
Lady Macbeth Played Wing Defence. Photography by Declan Young.
The cast are all standouts in their performances, perfectly landing not only every joke but also every note. I was blown away by the strength of the group’s vocals and their perfect harmonies. Having seen Courtney McManus act in other shows, I knew she would deliver a flawlessly executed, laugh-out-loud performance—but I had no idea she could sing too. What a multi-talent! The cast’s synergy is a testament to the show’s success. Having the opportunity to perform so many runs has allowed them to iron out any kinks and find their balance on stage. Occasionally, the audio was muffled, making it hard to decipher some lines or lyrics. This issue falls entirely on the venue and its audio technicians but is somewhat expected and understandable during fringe season.
Orla-Jean Poole possessed the intensity—and, quite frankly, scariness—of the original Lady Macbeth. Snappy snippets of the original text, set against a dramatic red backdrop, effectively reinforced this. Her character’s unabashed dedication to becoming captain of the Dunsinane Hell-Hounds contrasted with the rest of the campery occurring on stage in a way that somehow enhanced it further. The Dagger Divas as our three witches exemplify the fun, ridiculous, yet genius ideas this team has devised. I didn’t expect to have a coven’s theme song stuck in my head days after seeing the show—and I’m not mad about it (In thunder, lightning, or in rain!). The simple yet effective design elements must also be mentioned, particularly the satin diva robes and bedazzled microphones.
I’m sure this comparison has been made before, but this show has all the makings of the next Six. It’s ready to go and has proven itself over several seasons, sold-out shows, and a tour. Perhaps all this show needs now is an Edinburgh Fringe run to catch the eye of the powers that be who can make this happen for Crash Theatre Co. Be there and say you saw it before it hit the West End.
Lady Macbeth Played Wing Defence is on in the State Theatre Centre’s Studio Underground from January 17 to 24.