The solo performance reexamines the complex characterisation of Lady Macbeth (Photo: Patrick Goh/The Edge)
"Look like the innocent flower, but be the serpent under’t,” Lady Macbeth tells her husband, advising him to mask their treachery.
As the saying goes, a king is only as strong as his queen, and Shakespeare’s Macbeth fully embodies this. The classic tragedy is the esteemed playwright’s shortest work, yet is among his most renowned.
A psychological dive into ambition and guilt, it centres around Scottish general Macbeth and his wife who commit multiple murders in their quest for the throne, fuelled by the prophecy of three mysterious witches. Eventually King of Scotland, Macbeth becomes a tyrant to protect his title, which ultimately leads to the couple’s mental decline and downfall in a violent civil war.
Lady Macbeth is instrumental in these developments. Ambitious and ruthless, the “primary antagonist” is notorious for manipulating her husband into betraying and taking the life of King Duncan.
Initial extreme cruelty and lack of remorse, which then transform into madness, make her out to be complex, iconic and, perhaps, misunderstood. What happens when a story of someone often reduced to a cautionary archetype is stripped of spectacle and retold in isolation?
“There, you have this woman who everybody vilifies, who, actually, does have some humanity. But she lets the darker side of her take over,” says Sabera Shaik, founder and artistic director of Masakini Theatre Company. She will also be portraying the character in an upcoming showcase titled Lady M, happening from April 23 to 26 at Damansara Performing Arts Centre.
Taking charge as director is Tage Larsen, an established Danish theatre practitioner who helms his own company, Odin Teatret. The two creatives are familiar with each other’s work methods, having collaborated in previous productions — namely, Lady Swettenham, Othello and Puteri Saadong.
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Banter and sarcasm fill the room as they focus on tidying up the script, part of the creative back-and-forth process they both find joy in. Larsen had just flown in the day before, marking his fifth trip to Kuala Lumpur.
But even the dividing seas do not stand a chance against the pair. “It’s tough for the both of us, but we have this special energy together that we don’t give up easily,” Larsen shares.
The intensity of the role rests squarely on the shoulders of Sabera as she prepares to command the stage solo. Without the support of a cast to share the emotional weight, every shift in tone, pause and gesture is magnified. As demanding as it is revealing, the seasoned professional takes this responsibility in stride.
“It’s not easy, and you need to work towards it. But the simple answer is that I don’t like ensemble work,” she states matter-of-factly.
In response, Larsen says it is not an easy feat for the director either, leading the two to burst into laughter. After all, it was Sabera’s initial decision to do it this way. The artist always prepares the script draft for the duo’s works, drawing from her writing skills.
Free from the distraction of multiple storylines, this structure presents opportunity for introspection, allowing for a deeper exploration of Lady Macbeth. It is enhanced by specific lines and a little soliloquy extracted from the original play, meant to arm the audience with crucial context.
“Through this, we can add in details and information that, actually, we should have along the way,” says Larsen. He pauses, “Am I saying something wrong?” to which Sabera retorts in amusement, “Everything wrong.”
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It was also a conscious choice to strip away the set, avoiding elaborate staging, and focus on curating the atmosphere with lighting design instead. Minimal props and the absence of music emphasise the dark undertones of the storyline.
Why now? For Sabera, “It’s a sign of the times.” In an age when narratives are constantly re-examined and retold, shining light onto a figure who has long been cast in the shadows feels necessary. It also provides an interesting lens from which to view how notions of femininity and masculinity were challenged in the past, and can still apply today.
Most importantly, Lady Macbeth is given a chance to reclaim her story. Turning inward, Lady M reframes her as someone attempting to navigate forces both within and beyond her control.
“To put her into one box is so wrong because she is wonderful, charming and would do anything for her husband. Unfortunately, that was her downfall,” says Sabera. “To me, empowerment, as far as women are concerned, is always on our own terms.”
Keeping the magic alive
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In its efforts to foster a love of the arts among the youth, Masakini Theatre Company has introduced a donation-based initiative that gives students the opportunity to experience professional theatre.
A Stage for Students aims to spark curiosity for the art of storytelling. The creative outlet is known to stimulate essential developmental skills such as critical thinking, emotional intelligence and empathy, given that it revolves around complex emotions and intricate performances.
Beginning as a collaboration with Universiti Malaya, the programme is now open to those from other educational institutions.
“We look forward to having more of the younger generation coming to watch our shows, simply because they need to know what it’s like to have seni in your jiwa (art in your soul),” says actress Sabera Shaik.
For the upcoming Lady M, the company aims to raise RM12,540 to sponsor 200 student tickets for the show, which will be staged over four days. Sabera adds, however, that the conditions for sponsorship apply beyond Masakini shows, making theatre more accessible.
The production is happening from April 23 to 26 at Damansara Performing Arts Centre. To purchase tickets, visit here.
To sponsor a student, email [email protected].
This article first appeared on April 20, 2026 in The Edge Malaysia.
