Review: MAKEBETH, Shakespeare's Globe

There is something rather wonderful about watching Shakespeare’s darkest tragedy being brought to life with cardboard, audience inventions and a generous helping of imagination. MakeBeth, a brilliantly inventive new production at Shakespeare’s Globe, does precisely that, transforming Macbeth into an interactive, comedic adventure which invites its young audience not simply to watch the story unfold, but to help create it.

Created by Cardboard Adventures and Shakespeare’s Globe, in partnership with Chichester Festival Theatre and Leeds Playhouse, this 70-minute production is a masterclass in making classic theatre accessible, engaging and genuinely enjoyable for younger audiences.

Arriving to jolly, jaunty music, a guitar, cardboard boxes and warm, welcoming lighting, the atmosphere is immediately inviting. Three performers take to the stage, introducing a thrilling giant cardboard skull head and establishing themselves as the three witches. There is just one problem: Macbeth is nowhere to be found. Their solution? If he isn’t there, they will simply have to make him! With Celia Cruwys-Finnigan taking on the role of Macbeth and Harry Miller as Lady Macbeth, the audience is immediately drawn into the creative process. What sort of man is Macbeth? A fighter? A soldier? Brave and ambitious? Together, the performers and children decide what he might need, from a shield and sword to the trappings of a man with grand plans and dreams.

Before long, the witches need a cauldron and a spell, launching into a wonderfully energetic musical rendition of Shakespeare’s famous lines, “Double, double toil and trouble; Fire burn and cauldron bubble.” When they discover that their spell is missing some rather important ingredients, the children are given ten minutes to make them. Cardboard, colourful tape, pencils and child-friendly scissors are distributed, and soon the room is filled with an assortment of lizards, snakes, bats, owls, newts and frogs.

This hands-on approach is one of the production’s greatest strengths. The children are not simply invited to participate for the sake of it; their creations become an integral part of the storytelling. There is a real sense of ownership and collaboration, with the young audience helping to build the world in which the story takes place. As the tragedy progresses, the production demonstrates just how cleverly theatrical creativity can communicate some of Shakespeare’s darker moments without frightening its audience. The murder of King Duncan is represented by a wonderfully crafted small puppet, while the deaths of the two guards is measured and the tragic fate of Lady Macduff and her children are conveyed through a paper chain. Red ribbon and carefully judged physical comedy help to communicate the drama in a playful, reassuring way, making it clear to younger audience members that what they are seeing is theatrical representation rather than something to fear.

The banquet scene is another highlight, packed with surprises and exquisite cardboard props. As Macbeth becomes increasingly troubled by guilt and haunted by Banquo, the children are once again recruited, this time making masks to help transform the banquet into a gathering of ghosts, guilt and troubled consciences. It is an inspired way of bringing an important psychological element of the play to life. Music is woven throughout the production, with the talented cast demonstrating impressive versatility as they move effortlessly between acting, singing, playing instruments and engaging with the audience. Another brilliant song introduces the world of the dead, while impressive, enormous cardboard hands appear either side of the stage to accompany Lady Macbeth’s famous sleepwalking scene and her desperate cry of “Out, damned spot! out, I say!” creating an impact.

The final creative challenge sees the children become the trees of Birnam Wood. Given a final ten minutes for creation, they construct cardboard trees which will help conceal Macduff’s army as it advances towards Macbeth. Angus Tikka, playing Macduff, makes excellent use of the audience’s creations, creeping through the audience with his cardboard tree army to bring Shakespeare’s witches famous prophecy to life. It is a wonderfully satisfying culmination of everything the children have helped to create.

What makes MakeBeth so successful is the extraordinary balance between theatrical storytelling and audience participation. The three performers maintain complete commitment to their characters while remaining attentive to the needs of their young audience. There is never a sense of children being left behind or overwhelmed by the darker elements of the narrative. Instead, the production carefully guides them through the story with warmth, humour and reassurance.

Designer Sam Wilde’s imaginative use of recycled cardboard is a triumph, demonstrating that extraordinary theatrical worlds do not need elaborate sets or expensive materials. Under Ian Nicholson’s assured and insightful direction, and with Hannah Khalil’s playful adaptation, the production finds a fresh and accessible way into one of Shakespeare’s most celebrated tragedies. From cardboard cauldrons to a forest of young imaginations, MakeBeth is pure theatrical magic.

MakeBeth is both a joyful introduction to the Bard’s Scottish play and a celebration of collaboration, resourcefulness and creative possibility. It encourages children to think, make, imagine and contribute, while giving adults plenty to admire in its clever theatrical invention. Entirely mesmerising, wonderfully executed and bursting with imagination, this is exemplary family theatre. Shakespeare has rarely been quite so much fun.

MakeBeth runs until 1 November 2026 at Shakespeare’s Globe, in the Wolfson Lecture Theatre. Suitable for ages 7+. Running time: 1 hour 10 minutes.