Left, Hannah Mitchell (Lady Macbeth); Right, Jessica O’Gorman (Macbeth). Photo: Lucy Layton

On Saturday night, I saw Macbeth: The Scottish Slay, playing until the 25th at Vancouver’s Oddfellows Hall. This review will be somewhat biased, as the director of the production is my niece, Bronwen Maeve. But I can say with all honesty that I was very impressed by the production; the acting, lighting and sound were all top-notch, with some standout performances. Maeve has cast the play intentionally all-female, inspired by her enjoyment of the TV series Pretty Little Liars, mashed up with Shakespeare’s ever-popular tragedy. It works, and works surprisingly well! We begin with the witches, played by Xiaoqing Ye, Julia Abreu and Sophie Offei, with appropriate witchy glee and taunting Macbeth from the play’s beginning with their truthful/untruthful prophecies. Macbeth is played with great confidence by Jessica O’Gorman, who portrays the ambition and the torment in good balance throughout. Lady Macbeth is another strong performance from Hannah Mitchell, whose sleepwalking scene was very well done. I also liked Holly Collis Handford’s Banquo, in particular her delight in haunting Macbeth in the famous banquet scene. When she gives him the finger, with both hands, before exiting, it was exactly the kind of edgy moment this production has in abundance.

Another strong performance can be seen in Macduff, played by Fiona Jenkins. The scene where the news reaches her that her wife and children have been killed was very effective, so much so that I shed a tear. And her final battle with Macbeth provided the satisfaction of knowing she is going to best him, as she reveals the witches’ final falsehood, that she was born via a Caesarean birth. Macbeth, meanwhile, delivered both of the monologues late in the play with confidence and commitment. “Tomorrow and tomorrow and tomorrow” is one of the best-known soliloquies in Shakespeare’s canon, as the failing king realizes that his life is drawing to a bloody end, “signifying nothing.”

The staging of the play in Vancouver’s Oddfellows Hall is simple but effective. Three small stages are used throughout to create levels, and are particularly effective when used by the witches. The backdrop of shiny silver works well, and the costumes are all black, featuring short black dresses of various kinds, with the witches wearing glittery makeup that highlights their otherworldliness. Simple but effective lighting by Colleen Bayati works well, and sound design is also effective, by Max Livant. Overall, I thoroughly enjoyed this production, which was clear, committed and cohesive throughout. Tickets (which are going fast, so don’t delay!) are available here: https://plainstage.com/events/macbeth-the-scottish-slay. Go out and support this troupe of emerging theatre artists, you’ll have a wonderful time!