Sheffield, February 4, 2026
A Crown and Its Consequences: Shakespeare Reimagined in West Africa
A new production of “Macbeth” transplants the Scottish play to 19th-century Yoruba culture, exploring the intoxicating pull of power and the supernatural forces that shape destiny.
- Oladipo Agboluaje’s play draws heavily from Shakespeare’s “Macbeth,” but grounds the story in a rich Yoruba mythos.
- Deyemi Okanlawon and Kehinde Bankole deliver compelling performances as a warrior and his ambitious wife.
- The production emphasizes the political ramifications of unchecked ambition, offering a chilling reflection of contemporary leadership.
Every time the court historian appears, he unveils a fresh catalog of unusual events. Arokin (Toyin Oshinaike) recounts tales of a flying elephant, a gorilla adorned with a tortoise shell, and a woman whose hair writhes with vipers. These fantastical reports signal a world profoundly altered as aderemi (Deyemi Okanlawon) returned from the battlefield and learned of his wife’s prophetic dream. Oyebisi (Kehinde Bankole) foretold a crown upon his head, setting Aderemi on a relentless path from respected warrior to ruthless despot.
What happens when ambition is fueled by both prophecy and the supernatural? Oladipo Agboluaje’s play, deeply inspired by Shakespeare’s “Macbeth,” answers this question by relocating the drama to 19th-century west Africa. while the witches in the original “Macbeth” can feel like a narrative device-a catalyst for ambition-here, the supernatural is pervasive and undeniable.”I am doing the bidding of the gods,” Aderemi declares with unwavering conviction.
It’s refreshing to see Oyebisi maintain her resolve throughout the play, spared the descent into madness often depicted in adaptations of “Macbeth.” Though, Agboluaje’s departure from Shakespeare’s language also diminishes some of the psychological depth. Aderemi is not prone to introspection, and the play increasingly focuses on the broader societal consequences of his actions.
The playwright skillfully shifts the focus to the intricacies of succession and the maneuvering of rival royal houses attempting to control a volatile leader. With the throne suspended mid-air, dripping with blood on Kevin Jenkins’s set, the play becomes a stark exploration of power and governance. “It must never happen again,” a survivor of the carnage proclaims, a warning that resonates with the dangers of contemporary demagoguery.
Worth a look
