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.

THE WEYARD SISTERS at Riverside Studios

Reviewed on 15th August 2024

by Ellen Cheshire

Photography by Livia Hartmann

Previously reviewed at this venue:

MADWOMEN OF THE WEST | ★★ | August 2024

MOFFIE | ★★★ | June 2024

KING LEAR | ★★★★ | May 2024

THIS IS MEMORIAL DEVICE | ★★★★ | April 2024

ARTIFICIALLY YOURS | ★★★ | April 2024

ALAN TURING – A MUSICAL BIOGRAPHY | ★★ | January 2024

ULSTER AMERICAN | ★★★★★ | December 2023

OTHELLO | ★★★★ | October 2023

FLOWERS FOR MRS HARRIS | ★★★★ | October 2023

RUN TO THE NUNS – THE MUSICAL | ★★★★ | July 2023

THE WEYARD SISTERS

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★★

“Like the piñata that hangs above the stage throughout but is never used, the full force of the show never strikes its target”

I feel sorry for the Uber driver. Midway through Sandra Tsing Loh’s American import comedy “Madwomen of the West”, Claudia (Melanie Mayron) wants out. “No, not Highgate” she drawls into her phone. “Where are we?” she asks the audience. “Hammersmith”. But when the driver is three minutes away, she decides to stay, but fails to cancel the ride. The conversation – and the driver – are instantly forgotten. Claudia is at her friend’s house, in her pyjamas for some reason. Her friend is Jules (Brooke Adams) who initially conceals her torment and vodka in a water bottle. Also present is Marilyn (Caroline Aaron), busily putting up and taking down invisible party decorations. Latecomer Zoey (Marilu Henner) breezes into view like Catwoman, crashing the stage with the promise of ruffling feathers that are already dishevelled.

There is plenty of blurring of the lines in this play, which at times doesn’t feel like a play at all. There is no fourth wall, but when we are spoken to (or at) we are never sure whether it is the character or the actress. Presumably when the show initially ran in Los Angeles and New York last year, the audiences would have a better grasp, but from this side of the pond it is hard to tell.

The four performers have got together to put on a show about four women of a certain age who have got together for a surprise birthday party. They have known each other since their college days, which definitely shows in the camaraderie and the rivalry. The performances are wonderfully natural, but just as we are relaxing into their plush sofas and reminiscences, we are jolted out again by abrupt theatrical devices. The joke wears thin as the (fictitious) lack of budget, set, props and tech crew are repeatedly referred to. Where it fares best is the tweaking of the script for the English audience, acknowledging and respecting the differences in the humour while simultaneously making fun of us.

It not only makes fun of our culture, but also their own, and the fact that they cannot keep up. They don’t even want to keep up and these strong, successful women have earned the right not to try. The writing is sometimes unashamed as they tackle the topics of today. ‘Trans… it’s the new bulimia…’ The conversation and the drink flow freely as the women grapple with their own issues as well as the world’s. Divorce and disappointment, menopause and marriage, career and child-rearing, expectations and sexploitation. Many points raised are tried and tested but a few jump out like refreshing splashes of political incorrectness. Little seems to be out of bounds. Director Racky Plews must have had her work cut out, yet she has maintained a tight hold on proceedings while still making it look as though the performers are calling all the shots.

Some monologues, while informative and sympathy grabbing, linger too long and some clashing viewpoints seem contrived. But the chemistry between these performers is reassuring. We sometimes feel we are watching an Americanised episode of ‘Loose Women’ until we realise that, if we were, we wouldn’t even make it to the first commercial break before our ‘cancel culture’ would have everyone fired.

Yet for all the promise of acidity and caustic comedy, “Madwomen of the West” treads tentatively, unsure of the response, which kind of misses the point. If it appeared to care less, we would probably care more. Like the piñata that hangs above the stage throughout but is never used, the full force of the show never strikes its target. So the real treats – the reward for persevering – are never released. Instead we are guided to a rather sugary ‘let’s-be-friends’ finale. I wonder if the Uber is still waiting outside.

THE WEYARD SISTERS at Riverside Studios

★★

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

THE WEYARD SISTERS at Riverside Studios

Reviewed on 15th August 2024

by Ellen Cheshire

Photography by Livia Hartmann

Previously reviewed at this venue:

THE WEYARD SISTERS

THE WEYARD SISTERS

MADWOMEN OF THE WEST at the Riverside Studios

★★

“Like the piñata that hangs above the stage throughout but is never used, the full force of the show never strikes its target”

MADWOMEN OF THE WEST at the Riverside Studios

Reviewed on 5th August 2024

by Jonathan Evans

Photography by Ryan Howard

Previously reviewed at this venue:

MADWOMEN OF THE WEST

MADWOMEN OF THE WEST