As far as tragedies go, Shakespeare’s Macbeth is pretty high up there in terms of familiarity. Often quoted and referenced, even if it’s just “that play you read in high school” most people can recall some sort of touchstone. But director Mandy Knopp’s take on it for Bard in the Valley’s run of the Scottish play is far from typical, and reimagines the classic through the lens of a single question: “What if [the witches] are the ones pulling all the strings?”
The Cascade had the opportunity to sit down with Knopp to discuss her vision for the play, and what sets Bard in the Valley’s production apart. Central to that vision is the idea of expanding the roles of the Weird Sisters and their impact on events throughout the play. She spoke on the inspiration behind the choice, rooted in gender roles and female representation in theatre.
“I’m always interested in enhancing and giving more to women in theatre … because in Shakespeare you don’t get a lot of interesting female roles.”
The enhanced presence of the three witches is achieved in a number of ways, transforming them from mere mouthpieces of fate, into active manipulators. Through clever double-casting, onstage costume changes, and more, the sisters linger and subtly steer the characters toward transformative action. Whether this is a nudge in a direction they were already leaning, thus revealing true colours, or more deliberate puppeteering, the through line between themes of female agency and the pursuit of power becomes evident. Power itself demands transformation. A resounding refrain especially evident in how Knopp’s interpretation handles Lady Macbeth.
“She’s often portrayed as angry and cold and shut down, but she’s not. She was just so focused on giving her husband power … and there are little parts in the script that talk about her and motherhood, which we really wanted to explore.”
That humanity gives emotional texture to the production’s second half, as Lady Macbeth begins to play a lesser role. The absence feels intentional, and the feeling of something lacking resonates as an abrupt loss that mirrors Macbeth taking matters into his own hands. Knopp described how this reimagining acts to give depth to the character.
“The isolation of her husband going off and making decisions without her is really what draws her into this.”
The production’s aesthetic reinforces this as well. The costuming was inspired by gothic fantasy, and was set in an intentionally nondescript period, meant to emulate that sense of possibility and isolation. Knopp wanted it to give off that “anything can happen when you’re walking through … A blend of supernatural and natural, and everybody is on the brink of trouble.” The fact that they were able to portray these themes of danger and agency in subtle ways such as wardrobe show the level of nuance brought to this refreshing interpretation.
And, of course, with any big swing, there are challenges. In bringing this innovative take on Macbeth’s characters and themes to the stage, Knopp faced the most common challenge of all: timing. It took nearly three years for Bard in the Valley to be able to do her vision justice, and she commented further on what prompted the delay.
“It started when we were talking as a company about doing a winter production … The show was so much more ambitious than where we’re at as a company, so I needed to wait a little bit before I could actually do it. I also timed it perfectly with all of my friends being able to take part in this production as well. Not only with set design, projections, hair and makeup, costumes, fight choreography, it just all came together in this beautiful kind of perfect moment in time.”
As one of Bard in the Valley’s most technically demanding productions, perfection would be hard to strive for, but the level of talent and dedication delivered by cast and crew alike prove that experimentation pays off, and a narrative which centres those typically pushed to the fringe can strike a chord in unexpected ways.
“We don’t want to be a safe theatre company,” Knopp said. “We want to take chances.”
With deep ties in the Fraser Valley theatre scene, a plethora of UFV alumni contributing, and a willingness to take those risks, Bard in the Valley’s commitment to inclusion and community rings true. Their broader history of experimentation and reinterpretive productions — such as last year’s Rotten in the State of Denmark — only grows with this take on Macbeth, which runs until Feb. 8, with tickets going for $35 each. This summer they have a production of Henry IV that I’m sure will be one you won’t want to miss.
Interview has been edited for length and clarity.
