Written by Courtney McManus

Directed by Bec Price

Review by Dominic Corr

Assembly George Square – Studio One

For as much as we may whisper the name of their husband more often, Lady Macbeth will remain one of theatre’s finest characters. The brains behind the crown and dagger. The nuanced, and throned heart of Shakespeare’s Macbeth. Switch it up for a netball bib—and playing wing defence less so than politics. In this rebellious reimagining of Shakespeare’s blood-soaked tragedy, Lady Macbeth Played Wing Defence delivers a high-octane, electro-pop musical set in an Australian high school, where ambition, betrayal, and prophecy unfold on the court. With a sharp premise and a cast bursting with energy, this show is a gleeful mash-up of Macbeth, Mean Girls, and Six, and it’s already making waves at the Fringe.

Written and performed by Courtney McManus (playing Coach Duncan), with music and direction by Bec Price, the production is a showcase of youthful ferocity and theatrical flair. Orla-Jean Poole leads as Mac Beth, a netball-obsessed teen whose hunger for captaincy mirrors the original Lady M’s allure for power. Poole’s performance is magnetic—she nails the shift from eager teammate to ruthless schemer with charisma and bite. Her right-hand woman, Summer Banquo (Kate Sisley), offers a warm, grounded counterpoint, and their friendship-turned-fracture is one of the show’s emotional anchors.

But it’s the ensemble “witches”—the Dagger Divas—who steal the show. Played by Ana Ferreira Manhoso, Gabriella Munro, and Georgia McGivern, these pink-clad, pom-pom wielding prophets deliver the show’s most memorable musical moments. Their recurring chorus, “In thunder, lightning, and in rain,” is a karaoke-style banger that threads through the narrative like a glittery curse. Every time they appear, the energy spikes, and their choreography (by Shannon Rogers) is a worthy blend of netball drills and pop concert swagger.

The songwriting is punchy and infectious. Tracks like “Pick Your Player” and “Trap a Rat” are packed with lyrical nods to Shakespeare, teen slang, and feminist fire. While some songs feel more like standalone numbers than vehicles for character development, the score’s commitment to fun and rhythm is undeniable. It’s easy to imagine this show touring schools and regional theatres, rallying young audiences with its message of empowerment and team spirit.

Yet for all its charm, Lady Macbeth Played Wing Defence needs more grit. The premise promises murder and madness, but the execution leans heavily into redemption and camaraderie: notable, but too distinct from the bards origins. Mac Beth’s descent lacks the psychological horror of the source material, and the show’s ending—more reconciliation than ruin—feels too neat. If this is truly a Shakespearean tragedy, we should leave hating the protagonist, not cheering her on. A little more blood, betrayal, and moral ambiguity would elevate the stakes and deepen the impact.

A thrilling debut with its bold concept, strong central cast, and standout ensemble, Lady Macbeth Played Wing Defence is poised for a life beyond the Fringe. It’s a show that knows its audience, speaks their language, and dares to rewrite the canon with glitter and grit. Give it time—and a touch more darkness—and it could become a major touring hit.

---