“By the pricking of my thumbs / Something wicked this way comes.”
The Shakespearian canon has always been liable to reinterpretation and new staging, casting and setting orientations; whether that be The Merchant of Venice placed in London’s East End at the time of the Cable Street riots of the 1930s or Much Ado About Nothing transformed into a sparkly pink petal bedecked 1980s school house party cum modern romcom, or imaginative gender switches which added a new dimension to a recent production of Cymbeline.
It is, therefore, quite refreshing to see a Shakespeare play which is performed traditionally and places the action in its original context.
DMT’s version of Macbeth is a stripped-back, no-nonsense telling of the classic blood-soaked tale of ambition, murder, tyranny and hubris, sprinkled with a seasoning of supernatural prophecy and intervention.
This version of Macbeth has been staged in two central London churches: St Ethelburga’s in Bishopsgate and its current setting at St Paul’s Church in Covent Garden.
A church in winter is the perfect setting for Macbeth, all darkness, shadowy corners, stone memorials, echoey acoustics and subdued lighting.
This production is well-suited to its uncomplicated surroundings. The emphasis fairly and squarely concentrates upon human nature and the tragic consequences of the machinations underpinning the venal ambition and greed of Macbeth and his Queen. Costumes are straightforward, with much dark clothing predominant, and simple tartan sashes denoting various clan affiliations.
There are strong acting performances throughout this production.
An absolute highlight was the three witches, played by Tracey Kearney, Ellis Rooney and Blythe West. Dressed all in white, they stared, stuck out their tongues, prowled, whooped, whinnied, mewed and shrieked, creepily evoking their ethereal insanity and displaying an unsettling, provocative demeanour, utterly convinced of the accuracy of their supernatural predictions. Weird sisters indeed.
Xavier Starr gave us a well-nuanced Macbeth, who accurately delineated his progression from Duncan’s brave and loyal kinsman, being almost surprised by the depths of his ambition, then quickly becoming infected by his own and his wife’s craving for power and glory, to commit regicide and the subsequent murder of his faithful Banquo.
His wrestling with the consequences of his actions, and the exhibition of stark fear and confusion at the appearance of Banquo’s ghost at the feast, were effectively portrayed, always remaining the right side of parody.
Similarly, Katie McLeod showed a deft touch as Lady Macbeth (appropriately garbed all in black), whose own characterisation of the manipulative and conniving would-be Queen was alternately chilling and menacing. Her mental disintegration as she sleepwalked and found no relief from her overwhelming guilt and fear of the ramifications of what she had urged Macbeth to do was well judged and effectively communicated.
Martin Ologunja gave us a thoughtful, quietly observant Banquo, whose studied demeanour and gradual realisation of what his erstwhile best friend may have done is skilfully delivered.
In contrast, Ben Pugh Cook’s Macduff wears his heart on his sleeve, and his raw emotional rage at the news of the slaying of his family is visceral and compelling.
Lighting and sound were extremely complementary to the action as it unfurled. The insistent drumbeat, discordant organ reverberation and clanging of bells as the battle of Birnam Wood played out all effectively ratcheted up the tension, whilst the switches to red spotlights at key moments left no one in doubt as to the bloody nature of the story.
Whilst setting the production in a church has many advantages, some pitfalls need to be avoided.
A church, especially when there are many people present, can absorb noise comprehensively, and the actors’ projection occasionally needed to be cranked up.
The first act especially saw a degree of staticism in cast positioning, with mobility an occasional issue, especially with some of the monologues continually delivered out front centre stage. More use could be made of the space available, with increased movement assisting the flow of the narrative. Only once, for example, was the pulpit used, and then briefly by Duncan.
In contrast, the power and effectiveness of the performance of the witches was greatly helped by their own dynamism and fluidity of movement. They prowled all around the church, down the aisle, across the nave and interacting with the audience in the pews to memorable effect.
The second act saw much more of the performance space used, and this helped to drive the action forward, especially in the battle scenes.
This production has at its heart the fundamental themes of greed, guilt, betrayal, and the corrupting consequences of unfettered ambition. It is a cautionary tale about the moral decay and eventual downfall that can accompany the ruthless pursuit of power and framed in a perfect setting for early winter dark nights, delivers a memorable punch.
Review by Johnny Oxford
This winter for six performances only, enter the darkly lit halls of one of two secret Central London churches, where ambition bleeds into madness and fate whispers through stone and shadow.
MACBETH
6 and 11 November 2025, St Paul’s Covent Garden
7, 12, 13 and 14 November 2025, St Ethelburga’s Liverpool Street
