Something wicked this way comes to Ancoats – and it’s fierce, female, non-binary, and not bound by tradition. HER Productions, Girl Gang Manchester and Unseemly Women reimagine Shakespeare’s Macbeth with power and purpose, turning history into herstory/theirstory.
The moment you step into Hope Mill Theatre, you’re met with an eerie, smoky stage that sets a haunting tone. Staged in the round, this immersive production wraps around the audience, with the witches (Paryce Richards, Zoey Barnes and Pavanveer Sagoo) wailing from every corner. It’s physical, visceral theatre that pulls you in, whether you’re a lifelong Shakespeare fan or someone who never quite clicked with it at school.
If you’ve seen a HER Productions twist before, you’ll know this isn’t a token gesture. This is bold, intense theatre that crackles with energy and cuts close to the bone. You could scroll through today’s headlines and find them mirrored here, a reminder of the play’s enduring relevance.
Directors Amy Gavin and Hannah Ellis Ryan have torn up the traditional playbook. Gender roles are out the window, but the original text remains. The result is a production that feels fresh, fierce and emotionally rich. The added poetry by Gavin, Ellis Ryan and Nikki Mailer enhances the atmosphere without ever distracting from the story.
The ensemble is strong across the board. Each performer brings something new, adding depth rather than reinventing for the sake of it. But as always, Macbeth is a play that rises or falls with its central couple, and here, they shine.
Frankie Lipman’s Lady Macbeth is magnetic. She balances vulnerability, ambition and fury with a raw, commanding femininity. It’s a role she clearly relishes, and she absolutely delivers. Elaine McNicol’s Macbeth is equally compelling, capturing the slow descent into obsession and madness with emotional weight and razor-sharp timing. Together, they’re impossible to ignore – the original power couple, reimagined.
Richards, Barnes and Sagoo are a standout trio. They bring humour, chaos and menace as the witches, stirring up trouble while blurring the line between observers and instigators. Even during the interval, they remain in character, creeping through the crowd with screeches, movement and unsettling glee.
The design makes full use of Hope Mill’s intimate space. Hannah Bracegirdle and Laura Bowler’s sound work is a highlight, especially the deep, resonant thump of a real drum, which keeps tension simmering throughout.
This production digs deep into themes of power, womanhood and identity. Lipman, in particular, channels something feral and unforgettable, a fresh portrayal of rage and grief that refuses to be contained.
Think you’ve seen Macbeth? Think again. This is a bold, haunting remix that breathes new life into an old tale, and it demands to be seen.
Macbeth runs at Hope Mill Theatre until 29th June.
