The Barden Party – born in a Nelson back garden as a response to Covid 19 restrictions – conjures up potted renditions of Shakespeare plays, with songs, and takes bookings to perform in other back yards, parks, gardens and the odd public venue. “As a travelling troupe from New Zealand, we carry all our props, set and instruments with us to all corners of Aotearoa and the World to adapt our performance to suit any space.”

They sum up their Macbeth in three words: Music, Mischief, Magic – and deliver on all three counts. The music genre is Bluegrass, they are mischievous with the text and in gender-reversed performance while honouring the purpose of the drama – and they magically make us believe in the characters and the story they tell.

If you are familiar with the Bard’s tragical tale of vaulting ambition, you will enjoy the way they play with it; expect surprises. If it’s new to you, I’m guessing you’ll get the gist of it. For instance, the three Weird Sisters have become two Weird Hillbilly Brothers – played by Hamish Boyle and Caleb James – and while I’d defy anyone to understand every word they rant hyperbolically over their ‘cauldron’ (a floor tom), there’s no doubt they think something’s brewing.

Tara McEntee relishes her role as Queen Duncan, firing and hiring her Thanes in a strangely familiar way. When, on returning victorious from war, Laura Irish’s Macbeth is hailed by the Weird Brothers as Thane of Cawdor then finds the Queen has indeed conferred that title upon her, she glows with pride – and reveals a “black and deep desire” for more. Criss Grueber’s Banquo is both aware and wary of the implications – but Ollie Howlett, as Macbeth’s Husband (Thane Consort?) quietly stokes the sparks of her ambition by conspiring with her to assassinate the Queen this very night …

And so the wicked deed is done, setting the course for the Macbeths’ inevitable downfall, not least because they sense Banquo knows who dunnit and his children are in line for the throne so they too must be murdered. Having established herself as Malcolm, daughter of Queen Duncan, and fled to England – allowing Queen Macbeth to frame her for matricide – Julia Guthrey plays the Murderer of most of the Banquo family with compelling conviction.

Caleb James is a strong presence as Macduff, who also sees Queen Macbeth as a usurper and conspires with Malcolm to bring an invading army to Scotland – fulfilling the Weird Brothers’ prophecy that Birnam Wood will come to Dunsinane. Tara McEntee’s Porter offers welcome comic relief, Hamish Boyle brings a puzzled air to Rosse (who could also be played as a glib-tongued chancer) and both keep the plot ticking in minor roles, some of which are conflated.

The astutely edited text plays out in the convivial Whisky & Wood venue at a lively pace that also values moments of stillness, although there are times when I feel some lines would land better if they weren’t shouted. For example, given Macbeth’s conviction, thanks to the Weird Bros, that no man born of woman shall have power over him, might Macduff’s revelation that he “was from his mother’s womb / Untimely ripp’d” be more devastating if it was simply stated in stillness?

Silence also plays a valuable role. While the text and action play out around her, I am often drawn to what Irish’s Macbeth is thinking and feeling, whether she is basking in self-satisfaction, being devious or wrestling with her conscience. Later, her sudden outbursts of anger clearly indicate guilt is getting the better of her.

As Hamlet notes (in his advice to the players), a good play well performed will show “the very age and body of the time its form and pressure”. In this case I find myself wide-eyed and alert when Malcolm, back from England, tells Macduff:
                                      … were I king,
   I should cut off the nobles for their lands,
   Desire his jewels, and this other’s house,
   And my more-having would be as a sauce
   To make me hunger more, that I should forge
   Quarrels unjust against the good and loyal,
   Destroying them for wealth.
And when Macduff is aghast, she doubles down:
                  … Nay, had I pow’r, I should
   Pour the sweet milk of concord into hell,
   Uproar the universal peace, confound
   All unity on earth.

Thankfully she is testing Macduff’s moral compass, which proves true. Meanwhile we, all too aware of current global politics, have realised there is nothing new under the sun (even though there are more things in Heaven and Earth than are dreamt of in our philosophies) – which is both artistically pleasing and politically unnerving.

A different kind of surprise comes in the final confrontation with Macbeth’s command, “Lay on Macduff.” It would be a spoiler to reveal more. I’ll just observe that the decision to play it this way is entirely justified by the behaviour leading up to this moment.

This review will not be complete without mention of the songs (Musical Director, Ollie Howlett), that punctuate the play, including rollicking ballads like ‘Rock Me Momma Like a Wagon Wheel’ (Darius Rucker ), the poignant ‘Little Sparrow’ (Dolly Parton) and the cautionary ‘Broken Crown’ (Mumford & Sons). Led by Howlett and Grueber, the whole cast becomes a Bluegrass Band at times.

The Barden Party’s Macbeth – directed by Laura Irish, assisted by Wiremu Tuhiwai – breathes new life into Shakespeare with boldness, energy and flair. Catch them if they come your way – or book them (link above).   

P.S. Anyone worried that Shakespeare is about to become compulsory for senior high school students will surely be reassured by the relevance of this highly entertaining Macbeth.

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