“I shall do so. But I must also feel it as a woman.” – MACDUFF
SheShakespeare established themselves in 2017 as the Sydney-based theatre company devoted to exploring the classic works of William Shakespeare with a wholly female ensemble. Their premier production, As You Like It was performed at the MUSE Clinic in Darlinghurst and less than a year later, they are back with another production that is equally raw and deeply moving with an ensemble of truly prolific women.
Macbeth is, as with most of Shakespeare’s tragedies, a story that centres on an antihero bringing about his own downfall through the misguided prioritisation of power over honour and morality. Director Shelley Casey has shifted this perception by truly focusing on the importance of family and maternal bonds that exist within the text and are particularly potent with an all female cast. The ‘loss of dignity’ centres less around the fall from honour or power and more around the loss of family and spouse. This is a strong directorial choice and a beautifully poignant addition to the work; allowing us to make sense of why the production has been staged and why it has been done with only women.
Casey also draws our attention to the earth-mother icon that a female representation of Macbeth embodies. Beth McMullen is equal parts feminine, soft and sincere balanced with a strong masculine energy and ferocity that is unlike the traditional portrayal of the character. She is certainly well cast and does incredible work with the text and sense of sincerity that provides an authentic and truly relatable character. Emily McKnight gives a heartfelt performance as Lady Macbeth and the infamous monologue “Unsex me here” has never been so appropriately complex and emotive. It is during this speech we realise that her character represents the desire to abandon femininity for the sake of empowerment; and yet, this iteration of the work as a purely female version, changes the meaning and intensity around this entirely.
Megan Bennetts, Joy Gray and Lana Morgan give a rousing and electric performance as the witches; a strong sense of ensemble and awareness have gone into these roles and they are invigorating to watch. A stand-out performance comes from Erica Lovell as Macduff; a character who up until this production, one might see as pathetic and pity. Lovell’s characterisation and absolute surrender to the role is compelling and heartbreaking. Prudence Holloway has done an expert job in weaving the text together with beautiful musical interludes, shivering harmonies and a sense of feminine strength that may not have otherwise been accomplished.
There is some inconsistency in the set design that leaves us feeling disoriented as to the world we are in, but Matt Osborn’s lighting design beautifully emphasises the mystic, supernatural elements of the play as well as the open and sparse battle scenes.
SheShakespeare’s work is something to be celebrated and watched closely. This extraordinary collective of women have reinvigorated a classic in a way that honours the text and weaves in new meaning. Some moments of added contemporary text feel inconsistent rather than necessary, but the overall experience of the work is deeply moving and meaningful.
Macbeth runs at PACT Theatre until September 8.
M.Osborn – Theatre Now
