‘The Weyard Sisters’ is presented as a female-orientated sequel to ‘Macbeth’, conceived by Helen Alexander, who serves as both the writer and director. The play seeks to re-examine Shakespeare’s narrative through the lens of the overlooked female characters, offering them a voice and agency often denied in the original.
Given the central role of women like the witches and Lady Macbeth in influencing the pivotal decisions of the male characters, it’s clear why a reimagining that centres around these figures is pursued. Alexander’s work aims to delve deeper into the psyche of the witches, the ‘Weyard Sisters’, and explore the necessity of women compensating for the failings of men, especially in times of crisis.
The play envisions an alternate aftermath of the battle where Malcolm and Macduff overthrow Macbeth, portraying Malcolm, played by Jonathan Campbell, as a bitter and disorganised ruler, unfit and unprepared for kingship. His portrayal is agitated and often clueless about the true state of affairs within his own realm, failing to acknowledge the labour and contributions of the women who manage crucial tasks, including the burial of Lady Macbeth. In this narrative, the ‘Weyard Sisters’, played by Julia Munro, Pippa Caddick and Jan Shepherd, who prophecy the rise and fall of Macbeth, are now hunted by Malcolm and Macduff as scapegoats for the kingdom’s woes, symbolising the relentless pursuit of justice for prophecies that brought ruin.
The production’s unique intentions and conceptual ambition are commendable, though the storytelling doesn’t quite reach the same level. The plot somewhat obscures a clear thematic message, which could guide the narrative towards a more discernible climax or resolution. The element of multi-rolling, actors taking on multiple characters in the play is fascinating but complex. Enhancing the clarity of its execution would help the audience better track the evolving roles and identities on stage.
‘The Weyard Sisters’ exhibit flashes of originality and creativity, particularly in its costume design, by Dana Pinto. The production feature an intriguing blend of contemporary and traditional Scottish attire, with characters donning leather jackets, plaid kilts, studded belts, and mesh vests. This fusion of modern fashion with historical elements reflect the play’s thematic exploration of timeless issues through a Jacobean lens, symbolising the collision of past and present ideologies.
Whilst the play incorporate elements of comedy, these moments of levity sometimes feel out of sync with the darker, more serious undertones of the narrative. Though at times the humour undermine the gravitas of its powerful feminist critique or statement, yet it succeeds in providing its intended entertainment.
Particular performances stand out; Claire Morrissey’s role as the mother to England’s crown prince is convincing and intriguing. Her collected demeanour exaggerate the immature and hot-headed attitude of the current king Malcolm, demonstrating the irrational nature of a patriarchy in which blood and sex determine a nation’s future. In addition, performers Munrow, Caddick and Shepherd drive the play with their humorous and engaging performance, skilfully adapting to each character they portray.
With impressive acting, intriguing production design and a compelling concept, ‘The Weyard Sisters’ is an ambitious endeavour that aspires to give voice and depth to the female characters of ‘Macbeth’.
Featured Image: Jan Shepherd as Portia – Photography by Livia Hartmann
Review by Teodora Wollny
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The Weyard Sisters premiered at the Riverside Studios on 13th August 2024.
For upcoming events at the Riverside Studios visit www.riversidestudios.co.uk
