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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★★★½

“Lacey and Sammons both acknowledged the significance of each word so the author’s themes could be truly heard”

The Wasp, by Morgan Lloyd Malcolm depicts the encounter of two old school mates as they are reunited for the first time in twenty years. These two friends could not be more different, yet a startling proposition bonds them once more as their fraught history resurfaces with serious repercussions.

Peppered Wit Productions took this ambitious play on with great confidence and control, not being intimidated by the density of it. As a two-hander both actresses, Joanne Sammons and Tara Lacey kept up their stamina and their energy buoyant throughout the ninety minute play. Barely leaving the stage, they were engaging and took the audience on a journey with them providing a believable performance with the characters developing well.

Malcolm’s writing at times can be curt and Pinteresque and then contrast with lengthy monologue type responses – this could easily be lost by actors with less understanding, yet Lacey and Sammons both acknowledged the significance of each word so the author’s themes could be truly heard.

Peppered Wit Productions is a self funded company, creating their work collectively. They are an example of what collaboration done well looks like. The set design and directorial choices were well placed and executed with quality and professionalism – all done on what one can only image to be a somewhat meagre budget. They are also dedicated to bring theatre to audiences far and wide, making it accessible to communities who are often marginalised and left on the outskirts of the theatrical world. This is a very commendable trait of this accomplished theatre troupe.

The Wasp is a tale of psychological turns and societal dichotomies. Malcolm asks questions about the inherent nature of violence within human beings, about nature vs nurture and how childhood is more than simply a time in our past but the foundation and catalyst to our future life choices – all of which was depicted with dexterity, humour and commitment.

Reviewed by Pippin

Photography courtesy Peppered Wit

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

Etcetera Theatre

Reviewed – 24th June 2019

★★★½

“Lacey and Sammons both acknowledged the significance of each word so the author’s themes could be truly heard”

The Wasp, by Morgan Lloyd Malcolm depicts the encounter of two old school mates as they are reunited for the first time in twenty years. These two friends could not be more different, yet a startling proposition bonds them once more as their fraught history resurfaces with serious repercussions.

Malcolm’s writing at times can be curt and Pinteresque and then contrast with lengthy monologue type responses – this could easily be lost by actors with less understanding, yet Lacey and Sammons both acknowledged the significance of each word so the author’s themes could be truly heard.

Reviewed by Pippin

Photography courtesy Peppered Wit

The Wasp

Etcetera Theatre ahead of Edinburgh Festival Fringe

Last ten shows reviewed at this venue: