★★★★

“a traditional take on the play, with some truly impressive details”

This production of the Scottish play, performed by the Australian Shakespeare Company, takes us back to basics. While we enjoy bloody ghosts, cackling witches and excellent sword fighting, we also enjoy the fresh air and exquisite atmosphere of the Royal Botanic Gardens in Kew.

Traditional costumes full of layers and fur, a castle and battle cries transport us to Scotland, where Macbeth is given a prophecy by three strange creatures that seem to know what has come and what has yet to come. They tell him he will be king of Scotland and Macbeth, at first unsure but then completely enthralled, rampages for power to the point of no return.

Electrifying chemistry between the star couple, Macbeth (played by Hugh Sexton) and Lady Macbeth (played by Nicole Nabout). They share a twisted ambition to ascend, pushing each other to the edge, till they both slip into madness. There’s a burning desire that keeps them going, and an understanding that goes beyond ethical dilemmas or matters of humanity. They accept the powers that go beyond them, thirsty for a transformation that eventually brings their downfall.

Nabout has a magnificent presence and she delivers a carefully crafted journey from a self-assured and fierce woman to a mad, broken one. Sexton, on the other hand, seems to have two modes: one is the standard tragic protagonist, composed but with great weight on his shoulders, and the other is the maniac who shouts, moves about and howls. I do believe that’s the biggest trap when taking on this role and unfortunately, Sexton seems to have fallen into it. His spiralling into paranoia is tangible, feral, but it’d be much more compelling for the audience to see deeper than that.

The ensemble is strong, both the main and side characters. The playful energy brought by the Porter provides an amusing break from the intensity of the consecutive murders and scheming. Malcolm is played by a female actor, which is interesting to watch, but doesn’t really offer anything exciting other than a significant contrast with Macbeth. The direction for the witches’ performance and costumes is quite predictable, a disappointing interpretation that has been overdone. However, the second set of prophecies given to Macbeth, coming right after the interval, is a pleasant surprise, with the full effect of the lights, accompanying battle sounds and a rotating castle, that brings the stage to life.

Director Glenn Elston seems to have taken full advantage of the open air theatre. The setting sun, along with the colours and impending darkness that comes with night-time, creates an extra layer of wickedness. The contrast between the lighting in the first half, where the sky is still bright and everything seems normal, and in the second half, where the darkness allows for the lighting design to play its full part, reinforces the feeling that we have entered a realm full of magic and mischief.

It’s evident that the show keeps its best assets for the second act. The frenzy keeps building till it bursts with the final battle between Macbeth and Macduff. Having a castle as part of the set design keeps the actors’ entrances and exits interesting, while the use of its different levels gives a visual variety that is most welcome.

Overall, it’s quite a traditional take on the play, with some truly impressive details and some slightly disappointing decisions. If you’re looking for a modern and unique version of Shakespeare’s Scottish play, this isn’t the show for you. But if you’re looking for a solid production, with some great acting and haunting atmosphere, then this production is the perfect fit.

ALICE IN WONDERLAND

Kew Gardens

★★★

“inventive, energetic and gives the kids an extremely good time”

If you ever considered crossing Lewis Carroll’s Alice in Wonderland with The Wiggles, look no further. This immersive, open-air production by the Australian Shakespeare Company for Theatre on Kew is an entertaining and accessible pantomime-esque take that children will love. Though it doesn’t offer as much to adults.

We start in Wonderland. After the Knave of Hearts leads a rousing warm up, the birds burst into the audience, followed by the incredibly late White Rabbit and ‘Bill the Lizard’. (I googled Bill, he does indeed feature in the book.) Bill brings us up to speed before Alice crash lands, having already arrived and cried offstage. While Rabbit and Bill are distracted, Alice sneaks a sip from a curiously labelled bottle and grows so big she bursts out of Rabbit’s house. Luckily she shrinks again and goes on to meet all the iconic characters, play croquet and stand up to the Queen, while engaging in energetic games and songs.

This adaptation by Glenn Elston turns the key story beats into an inventive and digestible format for children of all ages. We’re part of Wonderland from the get-go, whizzing between characters, songs and games. Though the real treat is the croquet game which provides lots of laughs. Although this is a children’s show, there are nods to the adults in the ‘room’, such as comparing the Duchess’ hot soup to Timothy Chalamet and referencing Oasis during a song.

Directed by Elston and Remount Director Dennis Manahan, the highlight of this production is the audience participation. There is no fourth wall, with all dialogue out the audience, characters running through the sea of picnic blankets, games throughout, and dance moves the kids can follow. It makes great use of space and timing, often demonstrating split second timing from cast members who can’t see each other.

Paul Norton’s original score is a big part of this production. The catchy nursery-rhyme-esque songs add extra energy to key moments and characters. The Mad Hatter’s ‘I’m Mad’ song is a genuine earworm. Though they don’t all land. The White Rabbit’s late song goes on a tad too long, and the Tweedles’ Dum and Dee song’s repetitive call and response structure gets old quickly.

Sue-Ellen Shook’s choreography shows range and uses clear movements the kids can follow. Though it could be more cleanly executed by the cast at points.

The high energy cast do a fab job of bringing the energy while singing, dancing and acting multiple roles. There is expert improvving from Rupert Sadler’s Mad Hatter, whose ‘I’m Mad’ song and dance number is a hit in every sense. Alice Imelda’s Queen is another standout, adding nuance and singing beautifully. The Mad Tea Party scene is so slick that Sadler, Laura Bazely (Dormouse) and Tom Whalley (March Hare) never miss a beat despite speaking (and reacting) largely in unison.

At first glance, the set design seems fairly basic though it comes to life very effectively. The costumes do the job, with the Queen sporting an impressively huge red ballgown. Make up wise, there is liberal use of face paint though it does give the non-human characters an otherworldly look. Sound design is effectively executed, punctuating key moments with extra magic.

That said, there are several elements that work less well. Firstly, the lack of plot. I know, I know, it’s nonsense literature. But because we hit every major character with new songs and games, the already thin plot is lost. The references for the adults feel few and far between, standing out rather than feeling cohesive, and lacking a clear sense of humour. The momentum stalls at the Mad Tea Party during competing renditions of ‘Twinkle, Twinkle little star/bat’, which have me scratching my head.

This production of Alice in Wonderland is very much for children who I suspect will give it five stars. It’s not the flashiest or most faithful production you’ll ever see, but it is inventive, energetic and gives the kids an extremely good time. What better way to spend a golden afternoon?

Tag Archives: Paul Norton

MACBETH

★★★★

Kew Gardens

MACBETH

Kew Gardens

★★★★

“a traditional take on the play, with some truly impressive details”

MACBETH

Kew Gardens

Reviewed on 29th July 2025

by Stephanie Christodoulidou

Photography by Johan Persson

Previously reviewed at this venue:

ALICE IN WONDERLAND | ★★★ | July 2025

MACBETH

MACBETH

MACBETH

ALICE IN WONDERLAND

★★★

Kew Gardens

ALICE IN WONDERLAND

Kew Gardens

★★★

“inventive, energetic and gives the kids an extremely good time”