A cocktail of 1920s mafia, prohibited alcohol, and blood: the recipe for a chuckle-worthy production of Macbeth. As the curtains peeled away to reveal a broody speakeasy of flapper dresses, jazz, and suspenders, the audience erupted in applause. 

This is the brilliance of Melbourne University Shakespeare Company’s (MUSC) New York underground adaptation of Macbeth, as directed by Alana Collins. MUSC is not the only student company to recently stage Macbeth. Interestingly, Deakin University chose to set their production in 1940s England. It’s an intriguing pattern to situate both productions around World Wars—playing to cultural understandings of extreme unrest and risky “double trust” that can be extracted from Shakespeare’s text. 

The Weird Sisters (Izzi Jones, Claire Steel and Lucy Sonnemann) opened the show in three part harmony with a live jazz quintet, led by Harry Vreugdenburg. This was extremely effective in creating an underground mobster ambiance whilst also showcasing their allure with smooth choreography and silver beaded satin, fashioned by co-costume designers, Lucinda Carr and Clara Verbeek. The audience were intoxicated by smoke-machine haze, slurred “cheers’” and “New Yawkah” accents on the corner of Dunsinane Ave and Birnamwood Pde.  

Our suave duo, Macbeth (Flynn Lheude) and Banquo (Matt Ho) saunter in as we watch them (handsomely) win a street brawl. This occurred under dark blue lighting, connecting the altercation to their King (of the underground), Duncan. 

The only reservation with these epic fight scenes was that it overpowered any simultaneous dialogue. Important context was lost amongst the scuffling of heavy shoes on the blackbox stage. With no microphones, vocal projection was soft enough as it was once it reached the 200-seated Union theatre. Friday night and Saturday matinee were accompanied by subtitles but it would have been worth adding them to opening and closing night as well. Rehearsing with the Union Theatre in mind could have improved projection and clarity, particularly for first time Shakespeare viewers. 

However, when spotlight was used, the actors’ diction seemed clearer. I understood that the spotlight was typically reserved for Macbeth or Lady Macbeth (Giulia Magagna) in times of torment to emphasise mental isolation. It’s as if the spotlight drew intense scrutiny towards the characters, like a captured bug, whilst they desperately justified their immorality to the universe; to destiny.

In the second act, spotlight usage disappointingly weaned. Magagna delivered a devastatingly motionless performance of her “out, damned spot” soliloquy. Her command of pathos through stillness was powerful and afforded her with a grounded, sincere air. There was no doubt Lady Macbeth was a pillar for Macbeth’s confidence. 

Lheude’s initial bashfulness and humility was pleasantly surprising for the titular character. There was a refreshing variety of emotions and a plausible descent to paranoia in the place of brash male grunt. Lheude led his movement with a tilted head, leaning forward onto his toes and knees when he walked or ran, almost as if he was two steps ahead of himself at all times and trying to catch up. I think it’s clear how this serves symbolically in the downward spiral of mafia violence, and drunkenly chasing power. 

Michael Werden’s portrayal of Duncan was everything I wanted from this crooked mob adaptation. Stumbling about with a cane and a brassy Jersey accent, he was revered, yet delivered a friendly, bone crushing handshake and thick slaps on the back. The only disappointment was how quickly his character died! 

Another standout was Dylan Gough as Macduff. Ranging from risqué comedy with Malcom to a grieving slump upon hearing the slaughter of his household, Gough deserved every bit of applause after his vengeful vow to destroy the Macbeth family.

The ensemble was certainly enthusiastic to play into the often overlooked raunchiness of Shakespeare, encouraged by howls of laughter from the audience. Lu Burger as Seyton drew excited anticipation at every appearance. The production team played into the unfortunate pronunciation of dear “Seyton”, dressing Burger in a flaming suit and red eye makeup. Macbeth screamed for “Seyton”, and a deliciously flamboyant reply of, “what is your gracious pleasure", intoxicated the audience with uncontrollable giggles.

The second act certainly leaned into sarcasm, and this moment in particular took me out of the story, unsure if I was meant to be watching a comedy or a tragedy. I was disappointed that Seyton’s announcement of Lady Macbeth’s tragic end unleashed another trail of chuckles from the audience (who was still recovering from a comedic high), underselling the weight of the scene. Although, the jarring tonal shift served to displace our very role as the audience. For this whole show, the smoke, smooth jazz and witch-tampered concoctions got to our heads, immersed until the point of silly complicity. It was the extreme contrast that made the tragedy of supernatural echo-chambers all the more uncomfortable.  

Regardless of the comedy, I was still shuffled to the edge of my seat, hands over mouth as Macduff and Macbeth savagely duelled. When I looked over my shoulder, the rest of the audience confirmed we were all hooked; gasping with eyes wide open. 

MUSC reimagined this tragic classic with hilariously physical performances, leaving the audience stumbling out in ecstatic disbelief. What lingers is Shakespeare’s timeless confrontation of desire and the intoxicating extremities of self-preservation. To  re-situate Macbeth around the First and Second World War seems poignant and timely, especially around witchy prophecies of a Third as well. 

Melbourne University Shakespeare Company’s Macbeth played at Union House Theatre from Thursday the 7th to Saturday the 9th of May. Photography credit Saria Ratnam.