Being lucky enough to see Macbeth at the Tobacco Factory Theatre is an incredible and immersive experience. Performed in the round, the production places the audience startlingly close to the action. During the battle scenes, choreographed by Annie Mackenzie, staves whirl and flail so near to the audience that it creates a genuine sense of danger, electrifying the space.
I was initially surprised by the casting of Stu McLoughlin as Macbeth. He doesn’t necessarily match the physical stature I had always imagined for the role. However, any doubts quickly vanished. McLoughlin delivers a compelling performance, and watching his transformation from conflicted warrior to ruthless killer is utterly gripping. His psychological unravelling feels authentic and disturbingly human.
Lady Macbeth dominates their early scenes together, scolding him almost like a schoolboy- a dynamic that clearly reveals his initial hesitancy and her steely resolve.
The production features a cast of ten ensemble actors, with some wonderful doubling and tripling of roles – particularly Maggie Tagney. The ensemble work is one of the show’s greatest strengths, ensuring the energy never dips and that the action moves at a relentless pace.
The witches are particularly striking. Appearing out of the darkness, they seem to have stepped from a folk tale – a collective, almost elemental presence. They move and speak largely as one, a menacing force rather than separate individuals.
The set is minimal and the costumes utilitarian, modern and in drab colours – creating a hard world stripped of comfort and warmth. Bursts of ritualistic movement, choreographed by Dan Canham, punctuate the drama throughout with powerful physical intensity.
In the unique space of the Tobacco Factory Theatre, the tragedy feels immediate and inescapable. It is well directed, gripping, and accessible – perfect for those new to the play as well as for audiences already familiar with Shakespeare’s dark tragedy.
Jacqui Ham
