Macbeth – Lyric Hammersmith

Macbeth at the Lyric Hammersmith was nothing short of mesmerising. The production seamlessly wove the ancient with the avant-garde, a rare and masterful balance that honoured Shakespeare’s original while infusing it with a vibrant contemporary spirit, a feat that should undoubtedly fill the director (Richard Twyman) with pride.

The performance of Lois Chimimba as Lady Macbeth was particularly unforgettable. She slipped into the role as if it were an integral thread of her being, delivering an impeccable portrayal that firmly establishes her as one of my favourite incarnations of Lady Macbeth. In a legacy filled with formidable predecessors, her interpretation shone brightly.

Equally captivating was Alex Austin in the role of Macbeth. How does one infuse tragedy with moments of levity without compromising its depth? His effortless transition between sombre introspection and subtle comedic undertones brought a fresh, invigorating perspective to the character. His monologues, especially the poignant scene with Banquo’s ghost, were executed with a finesse that left me utterly spellbound.

Audience engagement was another masterstroke. The actors boldly broke the fourth wall, inviting guests to join them at the table after the initial murders were replaced a truly intimate nod that seamlessly wove the audience into the narrative without a hint of awkwardness. The additions enhanced the experience, drawing us further into the unfolding drama.

The set design deserves a special mention. The Banquo ghost scene’s table setting was almost cinematic; a visual feast that was both breathtaking and intimately tied to the story. Every detail, from the stately wood echoing Scottish nobility to the evocative design of the bathroom and glass room, was meticulously curated to amplify the narrative. These spaces were not merely backdrops, but active storytellers that enriched the play’s ambiance.

A modern twist was artfully achieved through multimedia camera work, especially in the bathroom scenes. Watching Macbeth’s hallucinations come to life on screen was both innovative and engaging, propelling the narrative into the realm of modernity without losing its Shakespearean essence.

Embracing modernity is a daring endeavour, yet it was accomplished with grace. The inclusion of a Charlie XCX song, perfectly chosen to mirror the play’s dark and tumultuous nature, alongside the delightful disco karaoke interlude injected humour into the tragedy. This unexpected fusion, reminiscent of Baz Luhrmann’s daring take on Romeo and Juliet, was executed with such precision that it resonated profoundly with a contemporary audience while remaining true to Shakespeare’s timeless spirit.

Inclusivity was woven into the fabric of the production with sincerity and care. Rather than a token gesture, the integration of British Sign Language enriched the narrative and honoured the original text. Sophie Stone delivered a standout performance during the scene of the knocking, a moment of comic respite that quickly became one of my favourites in the entire two and a half hours of the play. Her brilliance on stage leaves me eager to see more of her work in the future.

In every sense, this production of Macbeth was executed with breathtaking intensity and precision. It is easy to imagine that Shakespeare himself might have envisioned such a bold, contemporary rendition of his work, a testament to the enduring power of his words and the limitless creativity of modern theatre.

Macbeth is at the Lyric in Hammersmith until the 29^th of March, tickets available at: https://lyric.co.uk/shows/macbeth/

Reviewer: Zandra Odetunde

Reviewed: 5th March 2025

North West End UK Rating: