Frankie Lipman steps into Lady Macbeth’s shoes in gutsy new take on Shakespeare

Frankie Lipman trained at the Manchester School of Theatre and two years ago, she delivered a blistering performance in Oliver Hurst’s production of Simon Stephens’ brilliant play Pornography.

She is also a writer and theatre practitioner.

She is about to play Lady Macbeth in HER Productions, Girl Gang Manchester and Unseemly Women’s latest take on the Bard’s classic Macbeth. We caught up with Frankie to find out more.

Who or what inspired you to follow this career path?

Slightly ridiculously – Macbeth. I swear. I was about ten years old, watching a brilliantly gory (wholly not-child-appropriate) am dram production of the play at a theatre in my hometown: my batman-voiced big brother was playing the lead, and my (possibly rose-tinted) memory still convinces me that it was the best interpretation I’ve seen to this day – though I’m sure Elaine’s will rival it.

Macbeth was my first introduction to the transcendent nature of theatrical storytelling; I realised theatre was a world-shifting art form, and I wanted in.

I wanted to inhabit the minds and souls of characters, to magic audiences to weeping, cackling, or fearing for their souls, and inspire them with a willingness to see the impossible in every piece they see thereafter. Also, sibling rivalry always convinces us to do exactly what our brothers do and try to do it better. So there’s that.

What do you love about Manchester?

Manchester has a vibrancy that rivals other cities, whilst retaining a sense of welcome and accessibility.

It’s the home of brilliant music, brilliant people, and art spaces that feel inviting and teeming with possibility. Theatres like 53two, The Royal Exchange and Hope Mill Theatre nurture and spotlight young creatives in a way that has nourished my career and love for this Industry, and for which I’m hugely grateful.

What are the best things for you about performing on stage?

Like I said before – the transcendent nature of theatre still astounds me. How we hold the ability to transform theatrical spaces to different eras/worlds/situations, transform ourselves, transform words on a page to living breathing stories, will always make me feel like a little kid.

I think it actually taps into that thing that we access so easily as children and search for for the rest of our lives.

The audience are briefly entranced in our “game”, allowed to believe in the unbelievable, allowed to believe they see that fateful dagger too. Theatre is f*cking amazing. I’m probably not allowed to swear am I?

HER Productions mix things up and do not simply offer a retread of a Shakespearean tale. Is that what attracts you to a production like this one?

Absolutely. Hannah Ellis Ryan and Amy Gavin the directors are changing the game when it comes to alternative Shakespeare; still paying homage to the bard whilst being unafraid to shift things, shake the story up, invite new audiences, play boldly with the words and offer new motivations for characters who are 400-years-old, but anything but tired.

This is a meaty and iconic role. Is there anything new that you have discovered about Lady Macbeth?

At the moment I’m really enjoying researching into the real inspiration for Lady M, Gruoch Macbeth, who is less stone-cold-husband-manipulator, and more the unfortunate widow of one of Macbeth’s defeated enemies.

I’m excited to see what I can pull from the historical account of her life (pre-Holinshed’s Chronicles) and marry it to what we’re given on the page – those brief glimpses of doubt that remind us she’s human.

Also, I’m unashamedly nerdy about textual analysis, so mining for individual mannerisms that are unique to her has been really enlightening – excessive monosyllables, violent imagery, use of the “un-“ prefix which is particularly evident if you’re Lady M or her husband (“What’s done cannot be un-done.”). It’s all very cool. Promise.

What are the biggest challenges taking on a role like this one?

Judi Dench, Cush Jumbo, Kate Fleetwood and many many many others. I think the biggest challenge is to go on the journey towards her in a way that feels individual to me.

The words won’t change (they stand the 400-year test of time for a reason!), but I can endeavour to find and take ownership of an adaptation of her that feels refreshed and exciting.

If someone has seen many Shakespeare productions before, why would you tell them to come along to this production of Macbeth?

All-female. Mud, blood, guts and gore. Drums, song, poetry, movement. As always, HER Productions promises a night of Shakespeare that will be unlike those you’ve seen before.

Tickets for Macbeth at Hope Mill Theatre

Macbeth is at the Shakespeare North Playhouse from 5th – 7th June ad it arrives in Manchester at the Hope Mill Theatre from 18th- 29th June and tickets for the Manchester run can be booked here