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23 March 2026

Maskers Theatre Company has been delivering an eclectic range of plays and live performances in and around Southampton since 1968, impressively covering everything from Shakespeare to Kafka’s Metamorphosis. Born from a handful of dedicated troupe members, they now boast a membership of 120, allowing them to present a varied programme all year round, including an annual open-air production — the jewel in their artistic crown. Beginning life as a touring company, they are well versed in storytelling across a multitude of venues. In 1994, with the help of a National Lottery grant, they were able to purchase and create the intimate Maskers Studio Theatre space, which is now home to this production.

True to form in their creative versatility, this is a lesser-known play originally written for BBC radio and subsequently adapted for the stage. Our central protagonist, Michael, has an all-consuming desire to direct Macbeth for his amateur theatre company, the Shellsfoot Thespians. (Author’s note: please be reassured that after printing the name, I swivelled three times in my chair, swore, spat, left my office, and returned!)

In his directorial debut, Michael must convince his fellow thespians that he has the vision for this challenging masterpiece. Initially paying no heed to the superstitions surrounding the “Scottish Play,” his passion and endeavours are challenged at every step—whether by misfortune born of the play’s curse or his own single-minded focus. His overriding ambition leads to fractured relationships at home, at work, and within the theatre group. There are some very relatable am-dram shenanigans, with intergroup dynamics, demanding divas, and endearing, ever-eager but underqualified volunteers. As Michael’s obsession grows, he puts both his job and marriage on the line while focusing singularly on the production.

One of the most interesting aspects of this play is the requirement for actors to perform dual roles, portraying key scenes from Macbeth while moving swiftly between these and their characters as members of the Shellsfoot Thespians. Director Jill Desborough’s background as an English teacher, along with her experience teaching Shakespeare, clearly serves the production well.

This is further supported by the slick technical operation. Sharp lighting cues and well-designed sound help distinguish between real time and Michael’s visions.

Neil Forster plays Michael with superb energy and conviction, successfully portraying both obsessive passion and lighter moments with authenticity. Technically, he is vocally dynamic, able to convey frustration without simply raising his voice.

Emma Kirkpatrick and Chris Gath, as Lynne and Frank, deliver convincing performances as a couple at the centre of a secret love affair, unwittingly brought together again by Lynne’s clueless husband, Michael. Their casting as Lady Macbeth and Macbeth requires them to deliver dramatic Shakespearean text before returning to their present-day storyline, and this is handled with both pace and nuance.

Meri Mackney has great presence and humour as Geraldine, the recognisable — and frustratingly well-connected — dominating diva of the drama group.

While Paul Baker’s Alan appears on the surface to be the cheeky, over-familiar flirt of the group, he is also its unsung hero: “I just press the buttons.” Every group needs an Alan — someone who quietly designs and builds the set in the background before lighting the show. Baker’s portrayal is endearing and makes him one of the more appealing characters.

There are also some lovely performances from the ensemble. Standouts include Angela Stansbridge as Jackie, the kind and loyal secretary at Michael’s estate agent day job, played with sweetness and expressiveness. Similarly, Matthew Grant brings warmth and charm to Barnaby, the ever-eager but supposedly untalented player.

The ensemble cast manages scene changes efficiently and swiftly, aided by the clever use of preset tabletops for props in each scene.

An unfortunate incident involving an unwell audience member was handled superbly by the calm and professional front-of-house team, and the cast did very well to continue flawlessly in such an intimate setting.

Perhaps my only criticism is that, although first performed in the late 1980s, the play still feels contemporary and relatable. As such, it did not, in my opinion, need to be set so firmly in that era, particularly with the rather clichéd costumes.

The Maskers Studio Theatre is somewhat hidden behind Shirley High Street; however, once found, it proves to be a golden nugget of a venue and theatre group. I highly recommend a visit to this show, which is running until Saturday 28th March.

- Susanna Greenwood