Oh, quarantine. Remember that? All that sourdough, hand sanitiser, toilet paper and literal paint drying.

For some, quarantine saw us locked inside with people we knew, personal boundaries already established, the need for space an unspoken understanding. But for others, quarantine saw them isolating with a mixed bag of personalities, not all of them good. Revenge of the Myth explores the latter scenario, throwing in a decidedly Shakespearean twist.

Based on the famed Scottish play, Revenge of the Myth sees Lord and Lady Macbeth self-isolating with King Duncan, loyal friend Banquo and the adorable Macduff. But this clearly isn’t a straight up adaptation of Macbeth, oh no. That battle scene at the beginning is replaced with a three day bender, all before Covid-19 scours the land, forcing citizens to cower indoors.

Naturally, what follows is bloody good fun. For those familiar with the original play, you’ll know that death doesn’t come via a virus, but rather at the hands of those who aspire for power. But if you’re expecting to (out damned) spot some of Macbeth’s more famous lines and soliloquies, you’ll be disappointed. Instead, lesser known yet potently textured verses of Macbeth are woven in around thoroughly modern millennial speak.

There’s enough ham and cheese here to make for a tasty acting sandwich, one that is absurd, camp and yet quite clever. The crown for scene-stealing though has to go to The Wyrd Sisters, those wonderful witches of yore. To have this triptych of terror placed as a central focus in this script is a stroke of pure genius, one that empowers the feminine and pays homage to the unknown. The play on the animal nature of Houses, and how we embody our own bestial aspects, is also envisioned with spectacular prowess.

A thoroughly memorable fun little production, Revenge of the Myth brings the past firmly into the present with a mixture of play, respect and biting commentary. To paraphrase a line from this work: The Human is dead, long live The Human.