La Boite’s Macbeth: A Show of War, A Vision Lost

La Boite’s Macbeth sought to reframe a Shakespearean classic through a bold feminist lens, but put simply the result fell short of that ambition.

The central premise of this adaption positioned the Witches not just as central storytellers but as a new, commanding force of nature. A deeply intriguing concept, paired with striking promotional photography, set the stage for an exciting opening to La Boite’s 2025 season.  But what began as a powerful premise quickly faded, with the Witches' influence becoming increasingly confused as the play progressed. Rather than driving the narrative, their presence felt no more important than any other character, despite the promises of the shows own synopsis.

The dramaturgy remained steadfastly loyal to Shakespeare’s original text—perhaps to a fault. Instead of shaping a bold new perspective, the production clung so tightly to the play’s structure so that the witches supposed control over events was never clearly established. A heavier edit of Shakespeare’s text could have allowed for a true adaptation—one where the feminist framing actually had room to shine. As it stood, a few scattered lines about masculinity and the pains of women felt like a surface-level commentary rather than a well-developed reinvention.

The pacing was another casualty. Monologues felt rushed, skimming over emotional depth in an attempt to fit the 90-minute runtime. Moments that should have dazzled were fleeting, and powerful speeches that needed room to resonate were crammed. With little space between lines—let alone major scenes—the narrative surged forward at an unrelenting pace, ultimately dulling its impact.

In terms of performance, while costumes helped differentiate the characters, the delivery from Hoskins, McDonald, and Ree remained too uniform across roles, lacking the depth and specificity needed to make each performance distinct. Emotional arcs plateaued, with big moments failing to reach their full weight, flattening the peaks and valleys of Shakespeare’s tragedy into a single, unvaried tone. McDonald, was also frustratingly under-utilised, too often relegated to the shadows rather than actively shaping the story.

That said, the direction and execution of the physical movement was truly captivating. The strongest moments of this production were those rooted in dynamic stagecraft, where movement carried meaning beyond words—none more striking than the opening scene, which offered an engaging entry into the show. This made it all the more frustrating that the production clung to a text-based structure instead of carving out more space for physical storytelling.

Another honourable mention is the sound and lighting design which was nothing short of exceptional. Together, they provided a unified sensory experience which immersed audiences and layed a solid technical foundation for the production.

Ultimately, La Boite’s Macbeth felt like an ambitious concept that never fully took shape. The foundation for something exciting was there, but without a bold enough adaptation of the text, the feminist lens remained blurry. To truly realize this vision, a complete rewrite would have been necessary. Instead, the production delivered Shakespeare’s words without the reinvention or dynamism needed to make them feel fresh. A few striking moments? Absolutely. A must see show? Not quite.