★★★★★
Bell Shakespeare’s Mackenzie is an exemplar of not only adaptation, but also theatre. The new play, created by Yve Blake, brings Macbeth to the early 2000s. This sees the titular role reimagined as a Hannah Montana-inspired child star.
Logie award-winning actress, Virginia Gay, steps into the director’s seat for this play. Her direction keeps the show quick and snappy.
Mackenzie is played by Kimberly Hodgson, whose recent roles include Gigi in Miss Saigon and Brianna from Blake’s 2019 musical FANGIRLS. Hodgson’s flamboyant, exaggerated acting is exactly what a play like Mackenzie commands.
Of course, there can’t be an early 2000s TV show protagonist without her sidekick. In this production, it is Beau, played by Ryan Gonzalez. The relationship that Beau and Mackenzie build pulls at the heartstrings. This is because Gonzalez brings such an endearing awkwardness to their character.
The songs in the play are a delight. City Girl, in particular, is darkly funny. The contrast with Mackenzie’s World is a clear parody of the common pathway of child stars. It also cleverly shows how far Mackenzie has come from her dorky beginnings.
Lady Macbeth’s role is filled by Mackenzie’s mother, Ruth, played by Nikki Britton. She brings an almost bogan nature to her character. Ruth is clearly not a good mother to Mackenzie, but Britton’s penchant for humour keeps it light enough for laughs. This is an incredibly unique dynamic to see on stage.
Blake keeps surprisingly close to the original plot despite the campy dialogue and glamorous outfits. Many moments draw very directly from Macbeth but twist it in new, humorous ways. This adds to the show’s resounding metatheatricality. This is mostly in its first half to give room for more serious moments later.
Making up for almost every other role are Billie Pallin, Anusha Thomas and Jane Watt. These three do an excellent job filling in any other role the show needs. Quick changes are pulled off exquisitely, and suspension of disbelief is never broken. Pallin turns from chef to director at a moment’s notice.
Watt takes the brunt of this, playing the producer, the stylist and a handful of other roles. As the witch/stylist, Watt shows off some impressive but creepy physical acting. This is very brief and played for laughs, but it really shows her talent.
A standout is Keerthi Subramanyam’s absolutely gorgeous costume design. Each costume creates such clear characterisation, all while staying strictly 2000s. The pinks and leopard prints give the show a clear motif.
Perhaps the only thing that isn’t coated in a layer of glamour is the simple stage design. This allows the stage to follow the many locations Mackenzie travels to, from trailers to TV, to the red carpet. It also allows the colourful costumes of the main cast to pop against the dark flooring.
Mackenzie is a unique example of what a bit of creativity can do. It revels in being the opposite of Macbeth‘s dreary setting but maintains the wit and drama of Shakespeare’s original work.
Mackenzie is presented by Bell Shakespeare and runs to 18 July 2026 at The Nielsen Nutshell. Pier 2/3 Sydney NSW 2000.
It then runs at Arts Centre Melbourne from 23 July – 9 August.
Tickets for Sydney are here.
Tickets for Melbourne are here.
Website: https://www.bellshakespeare.com.au/mackenzie
Socials: https://www.instagram.com/bellshakespeare/
Photo credits: Brett Boardman
