See it if You like theatre. There’s not a single word or action that isn’t said or done with great purpose.
Don't see it if It’s a bit gory. The rain scene goes on for a bit too long.
See it if you want to see a classic Shakespearean text interpreted in an uber-modern, uber-creepy, and uber-unique light.
Don't see it if You're expecting a classic retelling of Macbeth.
See it if you love contemporary, reimagined adaptations of classic literature. It is cut down while still retaining the fundamental parts of the play.
Don't see it if you're sensitive to gore, prefer traditional adaptations of Shakespeare, or can't understand Shakespearean language.
See it if Like shows with a feminist, edgy spin! Or enjoy more experimental theater filled with drama and high jinks
Don't see it if dislike use of Shakespearean language in a contemporary setting; don't want to watch all-female cast perform Shakespeare Read more
See it if are interested in seeing Shakespeare in a slightly different form and, in the end, possibly even more frightening
Don't see it if you don't think MacBeth should be performed by a group of schoolgirls in the woods, no matter how talented they are
See it if You’re open to alternative interpretations of the Scottish play and would get a kick out of women playing all the parts.
Don't see it if You want the whole thing unadulterated. Read more
See it if You enjoy a classic
Don't see it if Shakespearean tales bore you
See it if you were a teenage girl, live with a teenage girl, know teenage girl(s).
Don't see it if you cannot stomach (literally and figuratively) graphic violence.
"When Teenage Angst Turns Bloody: Schoolgirl savagery is at the center of Erica Schmidt’s inventive adaptation of Shakespeare’s play."
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"Erica Schmidt's Psychologically Intriguing 'MAC BETH' Moves Uptown"
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Score: 97% "Once upon a time, three girls went into the forest but only two came out. In Erica Schmidt's brilliant adaptation of Shakespeare's 'Macbeth' you will discover how that could be."
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"This is among the most passionate versions of the play ever performed. Chief among the main players is the impressive Brittany Bradford, who smartly captures Macbeth's almost quicksilver transition from meek but loyal nobleman to halfheartedly ambitious throne-grabber."
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"An adaptation...that with its all-female cast becomes a raucous, sometimes impish, very dark-edged revel...Fuhrman puts a studious teen’s spin on her contemplative Macbeth, while an irrepressible mischief lurks within Mendes’s wonderful Lady Macbeth, toggling between passion and playfulness...What’s powerful in this play isn’t its climax. It’s watching a group of girls meet Shakespeare on their own electric terms — with ferocity, abandon and the occasional wild dance break."
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"Equally giggly and grisly...Alternates between heightened high jinks and chilling violence. At first, you may chuckle at these bad girls’ adolescent antics...even as Macbeth and her wife (standout Ismenia Mendes) go on an ambition-fueled rampage of destruction...The production works better when it veers into horror territory...The bloody savagery that these fresh-faced girls are capable of inflicting on each other is hard to wash off your mind."
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"The stage is awash in concept, but the real, visceral stakes of the story at hand can be neither seen nor felt...Schmidt is so enamored of her big idea that she allows her actors to gallop through the text of 'Macbeth' as if it has nothing to offer but basic structure and forward motion...The characters they’re enacting inside Shakespeare’s play blur together, a mess of casual, hyper, contemporary gestures that never let us take the story seriously."
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"The giddy, irreverent pace and edited text help offset the inevitable stylistic trade-off: not all the actors are giving a Banquo, Macduff or King Duncan for the ages (whatever that might be)...The playing of the lead roles is generally appealing, but uneven...I wanted more 'Macbeth' on the cutting-room floor, more material about the students’ lives, less fidelity to the Jacobean source."
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