Shakespeare meets Dune in SRT’s futuristic Macbeth

[SINGAPORE] By now, Singapore Repertory Theatre’s long-running Shakespeare in the Park series has built a solid reputation for design excellence, and its latest production of Macbeth is no exception.

This time, the Bard’s famous tragedy is transported from the misty highlands of Scotland to a futuristic desert battlefield, where sand dunes ripple under moody, ochre lighting, and the haunting music of the “weird sisters” – the three witches that curse Macbeth – drifts through the air.

Comparisons with the universe of Frank Herbert’s Dune – with its desolate deserts of Arrakis – and Star Wars’ planet of Tatooine are entirely justified, as director Guy Unsworth openly cites the films as inspirations.

Richard Kent’s production design and Gabriel Chan’s lighting conjure an atmosphere of raw, oppressive heat – a shimmering wasteland where ambition festers under an evil sun.

As Macbeth, Ghafir Akbar is vulnerable and visibly human – a fresh take that brings surprising tenderness to the role. But for all its emotional nuance, the performance sometimes lacks the volcanic ambition that defines the classic character. This Macbeth feels more like a man swept along by fate than one clawing desperately for power. The primal aggression that makes Macbeth both terrifying and magnetic is tempered, and his rise and fall seem more circumstantial than driven.

Julie Wee’s Lady Macbeth follows a similar path. Naturally graceful, Wee delivers her lines with her characteristic poise and warmth, but doesn’t reach the chilling intensity expected of one of Shakespeare’s most bloodthirsty women. Only in her descent into madness does she truly ignite, tapping into the darkness that was previously dormant.

Both leads are ably supported by Daniel Jenkins as Banquo, Andy Tear as King Duncan and Shane Mardjuki as Macduff. The trio of witches – played by Inch Chua, Melissa May Garcia and Vanessa Kee – lend a spectral effect, with singing that’s layered with artificial intelligence-generated distortion.

The production is notable for its experiments with puppets, using them to depict birds that fly ominously around the stage. While elegant in concept, the execution falls short. The puppetry, operated by the supporting cast, lacks the grace and control needed to elevate the production’s eerie atmosphere.

Overall, Unsworth’s Macbeth is a fresh reimagining that succeeds in merging Shakespeare with a sci-fi aesthetic. The world-building is strong and visually striking, replete with its own ancient language, gestures and rituals. But the performances don’t always match the ambition of the work. 

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Shakespeare In The Park: Macbeth runs at Fort Canning Park from now till Jun 1. Tickets from srt.com.sg