There’s much debate about Shakespeare’s depiction of women. Whether you believe he was a feminist, misogynist, neither, or simply don’t care, the math certainly tells us women were less important than men in Shakespeare’s plays.

Audiences and scholars alike love Lady Macbeth, are fascinated by her, because there are so few characters like her.  She is perceived as ruthless, ambitious, and blood-thirsty, which is especially intriguing given that she comes from a time in history when the ideal woman is supposed to be meek, submissive, pious, and faithful. 

There are too many female characters in Shakespeare plays living in exceptional circumstances who would certainly have a lot more to say about what they’re going through than Shakespeare gives them words and stage time to express.

Four years ago, when Anne proposed we partner on a re-thinking of Lady Macbeth, we had no inkling that a global pandemic would have such a profound impact not only on our process, but on the story itself. Anne and I share a background in physical theater, so I’d assumed we’d be creating something in which