The theater is no stranger to examining itself, staging shows that pull back the curtains to explore some of the drama behind the drama. In the case of “macbitches” at convergence–continuum, that drama is downright vicious.
For the female acting majors at UMNC, the role of Lady Macbeth is practically to die for. When incoming freshman Hailey lands the role, a few upperclassmen invite her over to their apartment to “celebrate.” The women sling back drinks as they scrutinize their new leading lady and explore their own ambitions and motivations, all the while identifying problematic power structures that have shaped their artistic journeys. As the night progresses, personality clashes and betrayals build toward a climactic curtain call for the students.
“macbitches” by Sophie McIntosh provides–as the title implies–commentary on Shakespeare’s iconic tragedy. “Macbeth” follows a Scottish general who is told by three witches that he is destined to become the King of Scotland. After hearing this prophecy, Macbeth and his wife attempt to take fate into their own hands by murdering their way to the crown, and doing whatever is necessary to keep it atop their heads.
Despite not even being given her own name, Lady Macbeth is one of Shakespeare’s most prominent and recognizable female roles. She is dominating, calculating and ambitious with a tragic story arc and a memorable, kick-ass soliloquy. It’s no wonder that the fictional students in “macbitches” are eager to land the role for themselves, especially when the options for other female roles are so limited; as the women point out, they are scratching and clawing for a role that doesn’t even have close to half of the number of lines as Macbeth.
And a shortage of prominent roles for women is only a scratch on the surface in terms of the inequities explored within McIntosh’s script. These college girls aren’t just mean to one another; they are cruel. One can argue that a lack of empathy is to blame, but McIntosh makes the argument that the misogynistic industry plays a large role in how women can view other women as not just rivals, but enemies.
The 90-minute, no-intermission show does a beautiful job of utilizing casual banter to unearth some of the social and systematic power structures that–whether intentional or not–create volatile environments for women within theater. It is harrowing to hear tales of physical and emotional abuse entirely normalized by young students who are not equipped with the tools or support necessary to challenge or healthily navigate those systems.
There are moments of levity and camaraderie, though they may not quite occur as often as the instances of snarky gossip and side-eyes. Those familiar with the theater will find much to enjoy in the show’s repartee, but the amount of insider lingo and references utilized means that some of the jokes or stories may not prove as effective for non-thespians in the audience.
The show continuously builds to a climactic ending, and while some moments in the narrative can sag slightly in the middle, director Kate Smith’s cast makes for an undeniably entertaining watch.
Madeline Golya is a super sweet and bubbly Hailey, the freshman who has earned the coveted role of Lady Macbeth. Golya plays Hailey with a naivete and self-assuredness that is entirely convincing.
In the role of Rachel, a senior who typically scores the leading roles, is Madeline Jarosz. She gives a talented portrayal of the hot-and-cold, intimidating queen bee figure. Playing the role of Rachel’s best friend and roommate, Lexi, is Abbey Marshall. Even though she is often playing second fiddle to Rachel, Lexi is a loyal friend. Marshall plays her with a tough bite and a heavy dose of sass.
The level-headed junior, Cam, is played by Lorna Patterson. Cam, who is queer and struggles with depression, is often compensating for her disappointment in her lackluster roles with humor, which Patterson nails. Rounding out the group of girls is the adorable Hannah Rutkowski as Piper, a sheltered and pious student who is self-conscious about her limited life experience. Rutkowski is effortlessly charming in the role.
convergence–continuum altered its small black box so that patrons must walk through the playing space to reach the tiered audience seating. After everyone is seated, curtains are closed over the theater’s entrance, the black fabric acting as the backdrop and backstage for the players. In doing this, the theater completely obscures paths to the exits as well as blocks the exit signs–something that patrons should be aware of should an emergency require them to leave the space prematurely.
The furniture of the small college apartment consists of a series of stage cubes, black boxes often used in the place of set pieces during rehearsals, draped in fabric. A ghost light, another backstage theater staple, acts as a sort of lamp. It’s a fitting aesthetic for a show that explores happenings behind the curtain.
Apart from Robert Wachala’s lighting design, which shifts in subtle but effective ways during intense conversations, convergence–continuum kept its production design relatively simple. There is no costume designer or set designer credited, although the costuming should be commended for how it aptly represents each character’s personality.
It’s always entertaining to take a look behind the curtains, to see what goes on behind the magic we see on stage, especially when it’s a biting, intelligent commentary like what is offered in “macbitches.”
“macbitches” runs through Aug. 15, 2026, at convergence-continuum, 2438 Scranton Road, Cleveland. Visit convergence-continuum.org or call 216-687-0074 for tickets, $23-30.