Writer, In a new version after Shakespeare /
Zinnie Harris
In an exhilarating epic of ambition, cunning and lust for agency, playwright Zinnie Harris reimagines Shakespeare’s tragedy from the perspective of Lady Macbeth. Macbeth has been told he will be King. Lady Macbeth tells him it will happen today.
Bojana Novakovic (Love Me) returns to the Australian stage in a powerhouse performance of Lady Macbeth that defines our time.
Malthouse Theatre Artistic Director Matthew Lutton delivers a visually arresting spectacle as the Malthouse is ingeniously transformed into the 11th century and the Macbeths attempt to claim the throne they believe is their destiny.
ACCESS INFORMATION
Macbeth (An Undoing) was first performed at the Royal Lyceum Theatre Edinburgh on 4 February 2023.
Key image: Boogie
Writer, In a new version after Shakespeare /
Zinnie Harris
Director /
Matthew Lutton
Lady Macbeth /
Bojana Novakovic
Macbeth /
Johnny Carr
Ross /
Tony Briggs
Mae & Malcolm /
Tyallah Bullock
Lady Macduff & Missy /
Jessica Clarke
Duncan & Murderer /
Jim Daly
Banquo /
Rashidi Edward
Carlin /
Natasha Herbert
Bloody Soldier & Lennox /
Khisraw Jones-Shukoor
Macduff, Doctor & Murderer /
David Woods
Set & Costume Designer /
Dann Barber
Lighting Designer /
Amelia Lever-Davidson
COMPOSER & SOUND DESIGNER /
Jethro Woodward
Associate Lighting Designer
Tom Willis
Associate Sound Designer
Justin Gardam
Intimacy Coordinator /
Amy Cater
Fight Choreographer /
Lyndall Grant
Stage Manager /
Lisa Osborn
Assistant Stage Manager /
Rosemary Osmond
Associate Fight Choreographer /
Josh Bell
STANDBY
IOPU AUVA’A & IZABELLA YENA
MILLINER
PHILLIP RHODES
COSTUME CONSTRUCTION
JO FOLEY, JODI HOPE, JANINE BARBER & LIZ SYMONS
ADDITIONAL SET CONSTRUCTION
AL BRILL
SCULPTURAL FABRICATION
NICHOLAS DUNAND
BESEN PLACEMENT ARTIST (DIRECTING)
ALICE DARLING
BESEN PLACEMENT ARTIST (COMPOSITION & SOUND DESIGN)
ETHAN HUNTER
DESIGN PLACEMENT
JONEL FACTOR
TECHNICAL PLACEMENT
Georgie Donnelly
Act 1—70 minutes
Act 2—55 minutes
20 minute interval
This production contains coarse language, explicit depiction of violence and blood, sexual references, discussion of warfare, discussion of infanticide, misogyny, occasional drinking and smoking, references to death or dying, references to mental illness and depictions of ableism, occasional use of prop weapons, loud and dynamic sound, and smoke effects.
COARSE LANGUAGE
The following coarse language is used throughout the show:
EXPLICIT DEPICTION OF VIOLENCE AND BLOOD
SEXUAL REFERENCES
There are two moments of simulated intimacy, one where two characters kiss passionately and furtively fondle one another, and one in which a character straddles their seated (and clothed) partner. There is no nudity, and all onstage intimacy has been choreographed by an Intimacy Coordinator.
DISCUSSION OF WARFARE
This is a play about treachery and war and therefore warfare is heavily discussed amongst the characters throughout the entire work including but not limited to: war crimes, murder, treason, infanticide, hostages and revenge killings.
There is depiction of restrained hostages using rope, mouth gags as well as threat of suffocation via a bag placed on top of a character’s head.
DISCUSSION OF INFANTICIDE
MISOGYNY
This is a play the misogynistic narratives placed upon the character of Lady Macbeth and therefore misogyny is heavily depicted within the work including but not limited to accusations of hysteria.
OCCASIONAL DRINKING AND SMOKING
REFERENCES TO DEATH OR DYING
Death is a key theme of this play and is frequently referenced. The following deaths occur on or off the stage (spoilers ahead):
All onstage violence has been choregraphed by a fight director.
REFERENCES TO MENTAL ILLNESS AND DEPICTIONS OF ABLEISM
There are frequent references to ‘going mad’ and Macbeth and Lady Macbeth grapple with being of sound mind. Lady Macbeth is accused of going through hysteria.
OCCASIONAL USE OF WEAPONS
Prop knives are used several times during the play.
PRODUCTION EFFECTS
A middle finger to capitalism and the overconsumption of the holiday season
More info