Editing Macbeth (section)

==Performance history==
===Shakespeare's day to the Interregnum===
The only eyewitness account of ''Macbeth'' in Shakespeare's lifetime was recorded by [[Simon Forman]], who saw a performance at [[Globe Theatre|the Globe]] on 20 April 1610.{{sfn|Brooke|2008|p=36}}{{sfn|Clark|Mason|2015|p=337}} Scholars have noted discrepancies between Forman's account and the play as it appears in the Folio. For example, he makes no mention of the apparition scene, or of Hecate,{{sfn|Clark|Mason|2015|p=324}} of the man not of woman born, or of Birnam Wood.{{sfn|Orgel|2002|p=33}}{{sfn|Brooke|2008|p=36}} However, Clark{{sfn|Clark|Mason|2015|p=301}} observes that Forman's accounts were often inaccurate and incomplete (for instance omitting the statue scene from ''[[The Winter's Tale]]'') and his interest did not seem to be in "giving full accounts of the productions".{{sfn|Clark|Mason|2015|p=324}}

As mentioned above, the Folio text is thought by some to be an alteration of the original play. This has led to the theory that the play in the Folio was an adaptation for indoor performance at the [[Blackfriars Theatre]] (which was operated by the King's Men from 1608)&nbsp;– and even speculation that it represents a specific performance before King James.{{sfn|Brooke|2008|pp=34–36}}{{sfn|Orgel|2002|pp=158–161}}{{sfn|Taylor|2002|p=2}} The play contains more musical [[Cue (theatrical)|cues]] than any other play in the canon as well as a significant use of [[sound effect]]s.{{sfn|Brooke|2008|pp=35–36}}

===Restoration and eighteenth century===
{{quote box|width=23em|The chill of the grave seemed about you when you looked on her; there was the hush and damp of the charnel house at midnight ... your flesh crept and your breathing became uneasy ... the scent of blood became palpable to you.|—Sheridan Knowles on [[Sarah Siddons]]' sleepwalking scene{{sfn|Williams|2002|p=119}}}}

All theatres were closed down by the [[Puritan]] government on 6 September 1642. Upon the [[English Restoration|restoration]] of the monarchy in 1660, two [[patent theatre|patent companies]] (the [[King's Company]] and the [[Duke's Company]]) were established, and the existing theatrical repertoire divided between them.{{sfn|Marsden|2002|p=21}} [[William Davenant|Sir William Davenant]], founder of the Duke's Company, adapted Shakespeare's play to the tastes of the new era, and his version would dominate on stage for around eighty years. Among the changes he made were the expansion of the role of the witches, introducing new songs, dances and 'flying', and the expansion of the role of Lady Macduff as a foil to Lady Macbeth.{{sfn|Tatspaugh|2003|pp=526–527}} There were, however, performances outside the patent companies: among the evasions of the Duke's Company's monopoly was a puppet version of ''Macbeth''.{{sfn|Lanier|2002|pp=28–29}}

''Macbeth'' was a favourite of the seventeenth-century diarist [[Samuel Pepys]], who saw the play on 5 November 1664 ("admirably acted"), 28 December 1666 ("most excellently acted"), ten days later on 7 January 1667 ("though I saw it lately, yet [it] appears a most excellent play in all respects"), on 19 April 1667 ("one of the best plays for a stage ... that ever I saw"), again on 16 October 1667 ("was vexed to see Young, who is but a bad actor at best, act Macbeth in the room of [[Thomas Betterton|Betterton]], who, poor man! is sick"), and again three weeks later on 6 November 1667 ("[at] ''Macbeth'', which we still like mightily"), yet again on 12 August 1668 ("saw ''Macbeth'', to our great content"), and finally on 21 December 1668, on which date the [[Charles II of England|king]] and court were also present in the audience.{{sfn|Orgel|2002|p=155}}

The first professional performances of ''Macbeth'' in North America were probably those of [[Old American Company|The Hallam Company]].{{sfn|Morrison|2002|pp=231–232}}

In 1744, [[David Garrick]] revived the play, abandoning Davenant's version and instead advertising it "as written by Shakespeare". In fact this claim was largely false: he retained much of Davenant's more popular business for the witches, and himself wrote a lengthy death speech for Macbeth. And he cut more than 10% of Shakespeare's play, including the drunken porter, the murder of Lady Macduff's son, and Malcolm's testing of Macduff.{{sfn|Orgel|2002|p=246}} [[Hannah Pritchard]] was his greatest stage partner, having her premiere as his Lady Macbeth in 1747. He would later drop the play from his repertoire upon her retirement from the stage.{{sfn|Potter|2001|p=188}} Mrs. Pritchard was the first actress to achieve acclaim in the role of Lady Macbeth&nbsp;– at least partly due to the removal of Davenant's material, which made irrelevant moral contrasts with Lady Macduff.{{sfn|Gay|2002|p=158}} Garrick's portrayal focused on the inner life of the character, endowing him with an innocence vacillating between good and evil, and betrayed by outside influences. He portrayed a man capable of observing himself, as if a part of him remained untouched by what he had done, the play moulding him into a man of sensibility, rather than him descending into a tyrant.{{sfn|Williams|2002|p=124}}

[[John Philip Kemble]] first played Macbeth in 1778.{{sfn|Williams|2002|p=125}} Although usually regarded as the antithesis of Garrick, Kemble nevertheless refined aspects of Garrick's portrayal into his own.{{sfn|Williams|2002|pp=124–125}} However it was the "towering and majestic" [[Sarah Siddons]] (Kemble's sister) who became a legend in the role of Lady Macbeth.{{sfn|Potter|2001|p=189}}{{sfn|Williams|2002|pp=125–126}} In contrast to Hannah Pritchard's savage, demonic portrayal, Siddons' Lady Macbeth, while terrifying, was nevertheless&nbsp;– in the scenes in which she expresses her regret and remorse&nbsp;– tenderly human.{{sfn|Moody|2002|p=43}} And in portraying her actions as done out of love for her husband, Siddons deflected from him some of the moral responsibility for the play's carnage.{{sfn|Williams|2002|p=125}} Audiences seem to have found the sleepwalking scene particularly mesmerising: [[William Hazlitt|Hazlitt]] said of it that "all her gestures were involuntary and mechanical ... She glided on and off the stage almost like an apparition."{{sfn|Gay|2002|p=159}}

In 1794, Kemble dispensed with the ghost of Banquo altogether, allowing the audience to see Macbeth's reaction as his wife and guests see it, and relying upon the fact that the play was so well known that his audience would already be aware that a ghost enters at that point.{{sfn|McLuskie|2005|pp=256–257}}

Ferdinand Fleck, notable as the first German actor to present Shakespeare's tragic roles in their fullness, played Macbeth at the Berlin National Theatre from 1787. Unlike his English counterparts, he portrayed the character as achieving his stature after the murder of Duncan, growing in presence and confidence: thereby enabling stark contrasts, such as in the banquet scene, which he ended babbling like a child.{{sfn|Williams|2002|p=126}}

===Nineteenth century===
{{quote box|width=23em|Everyone seems to think Mrs McB is a ''Monstrousness'' & ''I'' can only see she's a ''woman''&nbsp;– a mistaken woman&nbsp;– & ''weak''&nbsp;– not a Dove&nbsp;– of course not&nbsp;– ''but first of all a wife.''|—[[Ellen Terry]]{{sfn|Gay|2002|p=167}}}}

Performances outside the patent theatres were instrumental in bringing the monopoly to an end. [[Robert William Elliston|Robert Elliston]], for example, produced a popular adaptation of ''Macbeth'' in 1809 at the [[Surrey Theatre|Royal Circus]] described in its publicity as "this matchless piece of pantomimic and choral performance", which circumvented the illegality of speaking Shakespeare's words through mimed action, singing, and doggerel verse written by J. C. Cross.{{sfn|Holland|2007|pp=38–39}}{{sfn|Moody|2002|pp=38–39}}

[[File:Charles Kean as Macbeth 1858.jpg|thumb|left|[[Ellen Kean]] and [[Charles Kean]] as the Macbeths, in historically accurate costumes, for an 1858 production]]
[[File:Charles Macready as Macbeth.jpg|thumb|left|A print of [[William Charles Macready]] playing Macbeth, from a mid-19th century performance]]

In 1809, in an unsuccessful attempt to take [[Royal Opera House|Covent Garden]] upmarket, [[John Philip Kemble|Kemble]] installed private boxes, increasing admission prices to pay for the improvements. The inaugural run at the newly renovated theatre was ''Macbeth'', which was disrupted for over two months with cries of "Old prices!" and "No private boxes!" until Kemble capitulated to the protestors' demands.{{sfn|Lanier|2002|p=37}}

[[Edmund Kean]] at [[Theatre Royal, Drury Lane|Drury Lane]] gave a psychological portrayal of the central character, with a common touch, but was ultimately unsuccessful in the role. However he did pave the way for the most acclaimed performance of the nineteenth century, that of William Charles Macready. Macready played the role over a 30-year period, firstly at Covent Garden in 1820 and finally in his retirement performance. Although his playing evolved over the years, it was noted throughout for the tension between the idealistic aspects and the weaker, venal aspects of Macbeth's character. His staging was full of spectacle, including several elaborate royal processions.{{sfn|Williams|2002|pp=126–127}}

In 1843 the [[Theatres Act 1843|Theatres Regulation Act]] finally brought the patent companies' monopoly to an end.{{sfn|Moody|2002|p=38}} From that time until the end of the [[Victorian era]], London theatre was dominated by the [[actor-manager]]s, and the style of presentation was "pictorial"&nbsp;– [[proscenium]] stages filled with spectacular stage-pictures, often featuring complex scenery, large casts in elaborate costumes, and frequent use of [[Tableau vivant|tableaux vivant]].{{sfn|Schoch|2002|pp=58–59}}{{sfn|Williams|2002|p=128}} [[Charles Kean]] (son of Edmund), at London's [[Princess's Theatre, London|Princess's Theatre]] from 1850 to 1859, took an antiquarian view of Shakespeare performance, setting his ''Macbeth'' in a historically accurate eleventh-century Scotland.{{sfn|Schoch|2002|pp=61–62}} His leading lady, [[Ellen Kean|Ellen Tree]], created a sense of the character's inner life: ''[[The Times]]''{{'}} critic saying "The countenance which she assumed ... when luring on Macbeth in his course of crime, was actually appalling in intensity, as if it denoted a hunger after guilt."{{sfn|Gay|2002|pp=163–164}} At the same time, special effects were becoming popular: for example in [[Samuel Phelps]]' ''Macbeth'' the witches performed behind green [[gauze]], enabling them to appear and disappear using stage lighting.{{sfn|Schoch|2002|p=64}}

In 1849, rival performances of the play sparked the [[Astor Place riot]] in [[Manhattan]]. The popular American actor [[Edwin Forrest]], whose Macbeth was said to be like "the ferocious chief of a barbarous tribe"{{sfn|Morrison|2002|p=237}} played the central role at the Broadway Theatre to popular acclaim, while the "cerebral and patrician"{{sfn|Lanier|2002|p=37}} English actor [[William Macready|Macready]], playing the same role at the [[Astor Opera House|Astor Place Opera House]], suffered constant heckling. The existing enmity between the two men (Forrest had openly hissed Macready at a recent performance of ''[[Hamlet]]'' in Britain) was taken up by Forrest's supporters&nbsp;– formed from the working class and lower middle class and anti-British agitators, keen to attack the upper-class pro-British patrons of the Opera House and the colonially-minded Macready. Nevertheless, Macready performed the role again three days later to a packed house while an angry mob gathered outside. The militia tasked with controlling the situation fired into the mob. In total, 31 rioters were killed and over 100 injured.{{sfn|Lanier|2002|p=37}}{{sfn|Booth|2001|pp=311–312}}{{sfn|Holland|2002|p=202}}{{sfn|Morrison|2002|p=238}}<!-- Note that these sources are in disagreement about the number of casualties: Lanier says 21. --><!-- And, yes, you do need all four of these sources to get every point made in this paragraph! -->

[[Charlotte Cushman]] is unique among nineteenth century interpreters of Shakespeare in achieving stardom in roles of both genders. Her New York debut was as Lady Macbeth in 1836, and she would later be admired in London in the same role in the mid-1840s.{{sfn|Morrison|2002|p=239}}{{sfn|Gay|2002|p=162}} [[Helena Faucit|Helen Faucit]] was considered the embodiment of early-Victorian notions of femininity. But for this reason she largely failed when she eventually played Lady Macbeth in 1864: her serious attempt to embody the coarser aspects of Lady Macbeth's character jarred harshly with her public image.{{sfn|Gay|2002|pp=161–162}} [[Adelaide Ristori]], the great Italian actress, brought her Lady Macbeth to London in 1863 in Italian, and again in 1873 in an English translation cut in such a way as to be, in effect, Lady Macbeth's tragedy.{{sfn|Gay|2002|p=164}}

[[File:Ellen Terry plays Lady Macbeth.jpg|thumb|right|Photograph of [[Ellen Terry]] as Lady Macbeth, an 1888 production]]

[[Henry Irving]] was the most successful of the late-Victorian [[actor-manager]]s, but his ''Macbeth'' failed to curry favour with audiences. His desire for psychological credibility reduced certain aspects of the role: He described Macbeth as a brave soldier but a moral coward, and played him untroubled by conscience&nbsp;– clearly already contemplating the murder of Duncan before his encounter with the witches.{{sfn|Williams|2002|p=129}}{{efn|Similar criticisms were made of {{ill|Friedrich Mitterwurzer|de}} in Germany, whose performances of ''Macbeth'' had many unintentional parallels with Irving's.{{sfn|Williams|2002|pp=129–130}}}} Irving's leading lady was [[Ellen Terry]], but her Lady Macbeth was unsuccessful with the public, for whom a century of performances influenced by Sarah Siddons had created expectations at odds with Terry's conception of the role.{{sfn|Gay|2002|pp=166–167}}{{sfn|Williams|2002|p=130}}

Late nineteenth-century European Macbeths aimed for heroic stature, but at the expense of subtlety: [[Tommaso Salvini]] in Italy and Adalbert Matkowsky in Germany were said to inspire awe, but elicited little pity.{{sfn|Williams|2002|p=130}}

===20th century to present===
{{quote box|width=23em|And then Lady Macbeth says 'He that's coming / Must be provided for.' It's an amazing line. She's going to play hostess to Duncan at Dunsinane, and 'provide' is what gracious hostesses always do. It's a wonder of a line to play because the reverberations do the acting for you, make the audience go "Aaaagh!"|—[[Sinéad Cusack]]{{sfn|McLuskie|2005|p=253}}}}

Two developments changed the nature of ''Macbeth'' performance in the 20th century: first, developments in the craft of acting itself, especially the ideas of [[Konstantin Stanislavski|Stanislavski]] and [[Bertolt Brecht|Brecht]]; and second, the rise of the dictator as a political icon. The latter has not always assisted the performance: it is difficult to sympathise with a Macbeth based on Hitler, Stalin, or Idi Amin.{{sfn|Williams|2002|pp=130–131}}

[[Barry Jackson (director)|Barry Jackson]], at the [[Birmingham Repertory Theatre]] in 1923, was the first of the 20th-century directors to costume ''Macbeth'' in [[modern dress]].{{sfn|Smallwood|2002|p=102}}

[[File:Macbeth-26A-Carter-Thomas.jpg|thumb|right|[[Jack Carter (stage actor)|Jack Carter]] and [[Edna Lewis Thomas|Edna Thomas]] in the [[Federal Theatre Project]] production that came to be known as the ''[[Voodoo Macbeth]]'' (1936)]]

In 1936, a decade before his film adaptation of the play, [[Orson Welles]] directed ''Macbeth'' for the [[Federal Theatre Project#African-American theatre|Negro Theatre Unit]] of the [[Federal Theatre Project]] at the [[Lafayette Theatre (Harlem)|Lafayette Theatre]] in Harlem, using black actors and setting the action in Haiti: with drums and [[Haitian Vodou|Voodoo]] rites to establish the Witches scenes. The production, dubbed ''The [[Voodoo Macbeth]]'', proved inflammatory in the aftermath of the [[Harlem Riot of 1935|Harlem riots]], accused of making fun of black culture and as "a campaign to burlesque negroes" until Welles persuaded crowds that his use of black actors and voodoo made important cultural statements.{{sfn|Forsyth|2007|p=284}}{{sfn|Hawkes|2003|p=577}}

[[File:Fort St. Catherine's, St. George's Island, Bermuda.jpg|thumb|left|Fort St. Catherine's, Bermuda, the site of a 1953 outdoor production]]

A performance which is frequently referenced as an example of the play's curse was the outdoor production directed by [[Burgess Meredith]] in 1953 in the [[British Overseas Territory|British colony]] of [[Bermuda]], starring [[Charlton Heston]]. Using the imposing spectacle of [[Fort St. Catherine]] as a key element of the set, the production was plagued by a host of mishaps, including Charlton Heston being burned when his tights caught fire.{{sfn|Hardy|2014}}{{sfn|Bernews|2013}}

Some critics contend there were three great Macbeths on the English-speaking stage in the 20th century, all of them commencing at [[Stratford-upon-Avon]]: [[Laurence Olivier]] in 1955, [[Ian McKellen]] in 1976 and [[Antony Sher]] in 1999.{{sfn|Williams|2002|p=131}} Olivier's portrayal (directed by [[Glen Byam Shaw]], with [[Vivien Leigh]] as Lady Macbeth) was immediately hailed as a masterpiece. [[Kenneth Tynan]] said it succeeded because Olivier built the role to a climax at the end of the play, whereas most actors spend all they have in the first two acts.{{sfn|Williams|2002|pp=130–131}}{{sfn|Brooke|2008|pp=47–48}}

The play caused difficulties for the [[Royal Shakespeare Company]], especially at the (then) [[Royal Shakespeare Theatre|Shakespeare Memorial Theatre]]. [[Peter Hall (director)|Peter Hall]]'s 1967 production was (in Michael Billington's words) "an acknowledged disaster" with the use of real leaves from Birnham Wood getting first-night laughs, and [[Trevor Nunn]]'s 1974 production was (Billington again) "an over-elaborate religious spectacle".{{sfn|Billington|2003|p=599}}

But Nunn achieved success for the RSC in his 1976 production at the intimate [[The Other Place (theatre)|Other Place]], with [[Ian McKellen]] and [[Judi Dench]] in the central roles.{{sfn|Billington|2003|pp=599–600}} A small cast worked within a simple circle, and McKellen's Macbeth had nothing noble or likeable about him, being a manipulator in a world of manipulative characters. They were a young couple, physically passionate, "not monsters but recognisable human beings",{{efn|Michael Billington, cited by Gay.{{sfn|Gay|2002|p=169}}}} but their relationship atrophied as the action progressed.{{sfn|Williams|2002|pp=132–134}}{{sfn|Gay|2002|p=169}}

The [[Royal Shakespeare Company|RSC]] again achieved critical success in [[Gregory Doran]]'s 1999 production at [[Swan Theatre (Stratford)|The Swan]], with [[Antony Sher]] and [[Harriet Walter]] in the central roles, once again demonstrating the suitability of the play for smaller venues.{{sfn|Walter|2002|p=1}}{{sfn|Billington|2003|p=600}} Doran's witches spoke their lines to a theatre in absolute darkness, and the opening visual image was the entrance of Macbeth and Banquo in the berets and fatigues of modern warfare, carried on the shoulders of triumphant troops.{{sfn|Billington|2003|p=600}} In contrast to Nunn, Doran presented a world in which king Duncan and his soldiers were ultimately benign and honest, heightening the deviance of Macbeth (who seems genuinely surprised by the witches' prophecies) and Lady Macbeth in plotting to kill the king. The play said little about politics, instead powerfully presenting its central characters' psychological collapse.{{sfn|Williams|2002|p=134}}

''Macbeth'' returned to the RSC in 2018, when [[Christopher Eccleston]] played the title role, with [[Niamh Cusack]] as his wife, Lady Macbeth.<ref>{{Cite web |url=https://www.rsc.org.uk/macbeth/past-productions/polly-findlay-2018-production|title=Macbeth|website=RSC|access-date=21 May 2019|archive-date=13 August 2019|archive-url=https://web.archive.org/web/20190813084244/https://www.rsc.org.uk/macbeth/past-productions/polly-findlay-2018-production|url-status=live}}</ref> The play later transferred to the Barbican in London.

In Soviet-controlled Prague in 1977, faced with the illegality of working in theatres, [[Pavel Kohout]] adapted ''Macbeth'' into a 75-minute abridgement for five actors, suitable for "bringing a show in a suitcase to people's homes".{{sfn|Holland|2007|p=40}}{{efn|See also [[Tom Stoppard]]'s ''[[Dogg's Hamlet, Cahoot's Macbeth]]''.}}

Spectacle was unfashionable in Western theatre throughout the 20th century. In East Asia, however, spectacular productions have achieved great success, including [[Yukio Ninagawa]]'s 1980 production with [[Masane Tsukayama]] as Macbeth, set in the 16th century [[Sengoku period|Japanese Civil War]].{{sfn|Williams|2002|pp=134–135}} The same director's tour of London in 1987 was widely praised by critics, even though (like most of their audience) they were unable to understand the significance of Macbeth's gestures, the huge Buddhist altar dominating the set, or the petals falling from the cherry trees.{{sfn|Holland|2002|p=207}}

Xu Xiaozhong's 1980 [[Central Academy of Drama]] production in Beijing made every effort to be unpolitical (necessary in the aftermath of the [[Cultural Revolution]]): yet audiences still perceived correspondences between the central character (whom the director had actually modelled on [[Napoleon III|Louis Napoleon]]) and [[Mao Zedong]].{{sfn|Gillies|Minami|Li|Trivedi|2002|p=268}} Shakespeare has often been adapted to indigenous theatre traditions, for example the ''[[Kunqu|Kunju]] Macbeth'' of [[Huang Zuolin]] performed at the inaugural Chinese Shakespeare Festival of 1986.{{sfn|Gillies|Minami|Li|Trivedi|2002|p=270}} Similarly, [[B. V. Karanth]]'s ''Barnam Vana'' of 1979 had adapted ''Macbeth'' to the [[Yakshagana]] tradition of [[Karnataka]], India.{{sfn|Gillies|Minami|Li|Trivedi|2002|pp=276–278}} In 1997, Lokendra Arambam created ''Stage of Blood'', merging a range of martial arts, dance and gymnastic styles from [[Manipur]], performed in [[Imphal]] and in England. The stage was literally a raft on a lake.{{sfn|Gillies|Minami|Li|Trivedi|2002|pp=278–279}}

''[[Throne of Blood]]'' (蜘蛛巣城 Kumonosu-jō, ''Spider Web Castle'') is a 1957 Japanese samurai film co-written and directed by [[Akira Kurosawa]]. The film transposes ''Macbeth'' from Medieval Scotland to feudal Japan, with stylistic elements drawn from Noh drama. Kurosawa was a fan of the play and planned his own adaptation for several years, postponing it after learning of Orson Welles' ''Macbeth'' (1948). The film won two Mainichi Film Awards.

The play has been translated and performed in various languages in different parts of the world, and ''Media Artists'' was the first to stage its [[Punjabi language|Punjabi]] adaptation in India. The adaptation by Balram and the play directed by [[Samuel John]] have been universally acknowledged as a milestone in Punjabi theatre.{{sfn|The Tribune|2006}} The unique attempt involved trained theatre experts and the actors taken from a rural background in [[Punjab, India|Punjab]]. Punjabi folk music imbued the play with the native ethos as the Scottish setting of Shakespeare's play was transposed into a Punjabi [[milieu]].{{sfn|Tandon|2004}}

In 2021, [[Saoirse Ronan]] starred in ''The Tragedy of Macbeth'' at the [[Almeida Theatre]] in London.<ref>{{cite news |last1=Benedict |first1=David |title='The Tragedy of Macbeth' Review: James McArdle and Saoirse Ronan in an Over-Directed and Under-Dramatized Production |url=https://variety.com/2021/legit/reviews/macbeth-review-saoirse-ronan-james-mcardle-1235089573/ |access-date=19 June 2022 |work=Variety |date=14 October 2021 |archive-date=19 June 2022 |archive-url=https://web.archive.org/web/20220619150704/https://variety.com/2021/legit/reviews/macbeth-review-saoirse-ronan-james-mcardle-1235089573/ |url-status=live }}</ref> The following year a revival production opened on Broadway with [[Daniel Craig]] and [[Ruth Negga]] to middling reviews.<ref>{{cite news |last1=Green |first1=Jesse |title=Review: In a New 'Macbeth,' Something Wonky This Way Comes |url=https://www.nytimes.com/2022/04/29/theater/macbeth-review-broadway.html |access-date=19 June 2022 |work=The New York Times |date=29 April 2022 |archive-date=19 June 2022 |archive-url=https://web.archive.org/web/20220619051154/https://www.nytimes.com/2022/04/29/theater/macbeth-review-broadway.html |url-status=live }}</ref>

A new production starring [[David Tennant]] and [[Cush Jumbo]] ran at London's [[Donmar Warehouse]] from 8 December 2023 to 10 February 2024. Max Webster directed the production.<ref>{{Cite web |last=Gans |first=Andrew |date=8 December 2023 |title=Donmar Warehouse Macbeth, Starring Cush Jumbo and David Tennant, Begins December 8 |url=https://playbill.com/article/donmar-warehouse-macbeth-starring-cush-jumbo-and-david-tennant-begins-december-8 |access-date=25 April 2024 |work=[[Playbill]]}}</ref> The show received 3 [[Laurence Olivier Awards|Laurence Olivier Award]] nominations, including Best Revival.<ref>{{Cite news |date=2024-03-12 |title=Olivier awards 2024: complete list of nominations |url=https://www.theguardian.com/stage/2024/mar/12/olivier-awards-2024-complete-list-of-nominations |access-date=2024-04-25 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref> It transferred to the [[Harold Pinter Theatre]] in the [[West End theatre|West End]] from 1 October 2024 for a limited run.<ref>{{Cite web |date=2024-04-23 |title=Macbeth with David Tennant and Cush Jumbo to transfer to the West End |url=https://www.whatsonstage.com/news/macbeth-with-david-tennant-and-cush-jumbo-to-transfer-to-the-west-end_1594569/ |access-date=2024-04-25 |language=en-US}}</ref>

=== Operas ===
''Macbeth'' was adapted into an Italian [[opera]] (''[[Macbeth (Verdi)|Macbeth]]'') by composer [[Giuseppe Verdi]] and librettist [[Francesco Maria Piave]] in 1847 (revised in French in 1865). An English opera adaptation of the play was created by [[Lawrance Collingwood]] in 1927.<ref>{{Cite news |date=1927-12-18 |title=An English 'Macbeth.' |language=en-US |work=The New York Times |url=https://www.nytimes.com/1927/12/18/archives/an-english-macbeth.html |access-date=2023-12-20 |issn=0362-4331}}</ref>

Contemporary opera adaptations include Luke Styles' ''Macbeth'' (2015)<ref>{{Cite news |last=Hall |first=George |date=2015-09-10 |title=Macbeth review – an audacious operatic reduction |language=en-GB |work=The Guardian |url=https://www.theguardian.com/music/2015/sep/10/macbeth-review-luke-styles-opera-shakespeare-linbury-studio |access-date=2023-12-20 |issn=0261-3077}}</ref> and [[Pascal Dusapin]]'s ''Macbeth Underworld'' (2019).<ref>{{Cite web |title='Macbeth Underworld' de Pascal Dusapin. Psychanalyse d'un couple halluciné. Éblouissant ***. |url=https://www.rtbf.be/article/macbeth-underworld-de-pascal-dusapin-psychanalyse-d-un-couple-hallucine-eblouissant-10325447 |access-date=2023-12-20 |website=RTBF |language=fr}}</ref>

An indirect adaptation is [[Dmitri Shostakovich]]'s ''[[Lady Macbeth of Mtsensk (opera)|Lady Macbeth of Mtsensk]]'' (1934), based on [[Lady Macbeth of the Mtsensk District (novella)|the novella of the same name]] by [[Nikolai Leskov]].