THE WEYARD SISTERS at Riverside Studios

★★

“has its moments and intriguing ideas, but it struggles to find its footing”

“Life’s but a walking shadow, a poor player that struts and frets his hour upon the stage and then is heard no more.” This line from Shakespeare’s Macbeth captures the fleeting nature of stories. In The Weyard Sisters – The Definitive Sequel to Macbeth, writer/director Helen Alexander attempts to extend the tale, breathing new life into the characters who survived the blood-soaked battlefield of Dunsinane.

Ever wondered what happens next? Alexander offers a glimpse into the aftermath, where power struggles continue and Scottish royal titles remain up for grabs. The focus shifts from the fallen king to the women often side-lined — Lady Macbeth’s resourceful gentlewoman, Agatha (Claire Morrissey), who quickly becomes indispensable to the new ruler, Malcolm (Jonathon Campbell), who remains oddly detached from his role.

At the heart of the story are three women rumoured to be witches—the same ones whose prophecies led to the Macbeths’ tragic actions. Now, they’re front and centre. Portia (Jan Shepherd), the Porter’s daughter, leads the group, supported by Erlynn (Julia Munrow), the housekeeper, and Marlin (Pippa Caddick), the swineherd. Shepherd delivers a lengthy, fourth-wall-breaking comedic monologue that explores their driving purpose, while Caddick’s performance, full of nervous tics and twitches, shines in her interrogation scene. Despite Alexander’s intention to provide a female-centred perspective, the witches, though having some striking moments, feel more symbolic than impactful.

The more engaging parts of the play revolve around the battle-scarred warriors, both physically and emotionally, as they try to find their place in the new order. Bradley Benjamin stands out with a nuanced portrayal of Macduff, capturing the raw anger and emotional vulnerability of a man tormented by the loss of his family.

While billed as darkly funny, the play also incorporates broader humour, particularly through Gordon, Malcolm’s newly appointed and out-of-his-depth servant. Ciaran Corsar’s natural warmth and charm shine as he navigates his new responsibilities with endearing awkwardness.

On the production side, Dana Pinto’s minimalist design, featuring rustic props and white linen sheets to divide the front and backstage, is effective. The lighting design, equally simple, is used to good effect in a flashback sequence, with actors engaging in shadow play to depict past battles. There’s a punk aesthetic to the Celtic costumes, especially for the male characters. The soldiers’ distressed fatigues and kilts contrast with the more refined attire of Malcolm and Macduff, reflecting their higher status. The costumes also subtly explore themes of same-sex relationships, with two guards donning accessories associated with gay iconography, adding an extra layer to the narrative.

Helen Alexander’s ambition to create a definitive sequel to Macbeth is evident, and The Weyard Sisters is intended as the first in a planned trilogy that may eventually address some of the questions it raises. However, the execution in this initial instalment falls short. There’s a lot going on—questions raised but not resolved, themes introduced but not explored, and diversions that lead nowhere. While it’s refreshing to see a play that challenges the audience, this one often feels like it’s trying to do too much without delivering. It helps to brush up on Macbeth, as the play assumes familiarity with the original, and the nods to a broader Shakespearean universe don’t quite compensate for the lack of coherence.

In the end, The Weyard Sisters has its moments and intriguing ideas, but it struggles to find its footing. This ambitious project may have potential, but for now, it feels more like a work in progress than the definitive sequel it aims to be. Much like those fleeting shadows, it won’t linger in the mind.