SHAKESPEARE WITH STYLE, SPEED AND SERIOUS LAUGHS

By Emma Carney | Bunny Pudding · Digital Coven · @bunnyscopes ⭐⭐⭐⭐ | Press Invite

Let’s be honest. When you think of Macbeth, you think of tragedy, ambition, murder, and a whole lot of guilt. You do not necessarily think of laughter, quick-fire costume changes, and a king who is hilariously out of his depth. But The HandleBards see Shakespeare a little differently, and that is exactly what makes their production so refreshing.

This all-female, sustainable theatre company have swapped their bicycles for an electric van this summer to reach even more venues, but they have lost none of their trademark energy. The actors were great and played a wonderful array of varied and funny characters. With just three cast members tackling all the roles, there is a lot of dashing around, inventive prop work, and split-second character switches that keep you on your toes. One moment someone is a regal king, and the next they are leaping across the stage as a fey, musical Malcolm. It is fast, frantic, and never dull.

I was particularly taken with Meredith Lewis’s Macbeth. She plays him as a man entirely out of his depth – nervous, bickering with his much stronger wife, and even seeking comfort from an audience member when he needs a replacement best friend after killing Banquo. It is a wonderfully funny performance that had me laughing more than a few times. There is something about seeing Macbeth as an incompetent posh boy rather than a ruthless tyrant that makes the whole tragedy feel both ridiculous and oddly relatable.

But Lewis is not the only standout. Jazz Harbour and Marianne Kelly are absolute powerhouses, dashing between multiple roles with breathtaking speed and precision. Harbour brings a brilliant physicality to every character, whether playing a bloodthirsty MacDuff or a campy, scene-stealing Malcolm. Kelly, meanwhile, delivers a fantastic Lady Macduff who puts up a real fight, and her chemistry with the rest of the cast is electric. Together, these three women create a fully realised world with just a few props, a tented set, and a whole lot of imagination.

And do not be fooled into thinking this is just a silly farce. The HandleBards know exactly when to dial up the comedy and when to let the tragedy breathe. They may be having a laugh, but they never lose sight of the central themes of ambition, guilt, and the consequences of unchecked power. There were moments of genuine pathos that reminded me that this is still Shakespeare’s bloodiest tragedy, even when performed with a giant sulky dagger mask and a tiny puppet Fleance.

The setting at The Charterhouse was perfect for this kind of intimate, open-air performance. The relaxed atmosphere encouraged the audience to lean in and enjoy themselves, and the cast made full use of the space. Designer Lucy Green has created a small, tented space like a Punch and Judy show, but it is in the detail where so much care has been taken. There are visual gags everywhere, and the physical comedy is matched by excellent verse speaking when the text is given its due weight.

In finding the humour and making Shakespeare so accessible, The HandleBards have created a genuinely entertaining and refreshing evening of theatre. It may not be the most profound Macbeth you will ever see, but it is certainly one of the most fun.

The Handlebards: Macbeth was performed at The Charterhouse on Tuesday 14 July.

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