MACBETH

Kew Gardens

★★★★

“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.

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

★★★

“a play that focuses more on glimpses of intimacy and character variety rather than any tangible plot with a clear ending”

Desire, grief, family, sexually transmitted diseases and much more can be found in this production of Conversations After Sex. Written by Mark O’Halloran, this show unveils how we connect in our modern times and how we deal with whatever life throws at us. Because sometimes distracting ourselves with different physical experiences, like having sex or taking substances, is the only way to stay afloat and not sink.

That’s what our unnamed female character seems to be navigating, as she goes through sexual partners of various temperaments, interests and ages and as she spends wild night after wild night. After they’ve had sex, they discuss about previous or current relationships, life or whatever else comes up once the emotional walls she normally has built up have been lowered, even briefly. More and more is revealed about her till we get a better picture and understanding of her life. Her older sister also joins for a few scenes, giving a bit more of a perspective than what the protagonist would have liked to share.

The pace is steady throughout, not really altering or fluctuating throughout the play. The two main actors find moments of emotional vulnerability and are really present with one another, but don’t really go the extra mile to help the audience engage more. Julian Moore-Cook jumps in and out of all the male characters’ accents and physicalities smoothly and swiftly, which fits with the protagonist’s nonchalant performance. Olivia Lindsay as the female protagonist plays with no exaggerated passion or turmoil, which is intriguing and grounding, but does leave the audience with a sense of hanging, like there were things left unsaid and unfinished. Jo Herbert’s appearance as the sister is brief, yet sobering for us and the protagonist, a voice or reason and a reminder that everyone goes through different struggles.

Under the direction of Jess Edwards, it’s a play that focuses more on glimpses of intimacy and character variety rather than any tangible plot with a clear ending. The main focus is definitely the balance, and imbalance, of the protagonist with her respective sexual partners, but during a heartbreaking moment when her deceased ex visits her while she’s macrodosing, we’re left wondering if this is more about how the human soul breaks apart and the challenges of recovering.

The set (Georgia Wilmot) is simple, efficient and practical. In the middle, a queen-sized bed, all in pastel pink, and in the background, a big wall of neon light that assists with the transitions and dominates the mood of each interaction. Transitions are cleverly choreographed and exciting to watch, with the light changes and music intervals (Bethany Gupwell and Xana respectively), which offer a helpful intro and outro for the many characters we encounter.

In a world where disconnection is more and more prominent, Conversations After Sex has the potential to shine light onto the people hiding behind dating apps, substances and loneliness. The delivery does get stagnant and unspecific, but is entertaining nonetheless.

Tag Archives: Stephanie Christodoulidou

MACBETH

★★★★

Kew Gardens

MACBETH

Kew Gardens

★★★★

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