“macbitches”
The Container Globe
Detroit, Mich.
Until Sept. 6
“Sometimes they’re friends, sometimes they’re bitches who want to see you fail, sometimes they’re both.”
Never has a quote so aptly captured the crux of its show as this one from Sophie McIntosh’s “macbitches,” spoken by Princess Beyoncé Jones as Lexi. Produced and directed by iyla a. stebbins at Detroit’s Container Globe theater, the play focuses on the female frenemy dynamics of five theater students in college with an engaging, fast-paced story that is both hilarious and thrilling.
The dark comedy takes place over the course of one evening following the casting announcement for the school’s upcoming production of “Macbeth.” Perky, vocal fried-freshman Hailey (Maryannna Lauter) has just been cast in the lead as Lady Macbeth, to the surprise and dismay of her older classmates who invite her to join them for the night. Rachel (stebbins) is the star of the program, committed to her craft and a supportive big sister to her friends. Lexi is Rachel’s easier-going best friend. Fireball Cam (Madi Burt) is angry at constantly being overlooked. Strait-laced Piper (Aaliyah Flint) is the nice one, seemingly accepting of her ensemble status in contrast to her more talented friends.
On the surface, the girls laugh, gossip, and overpraise each other for their immense talent. But each is more ambitious than she leads the others to believe, which becomes more apparent as the shots flow throughout the evening. The show doesn’t get quite as extreme as its namesake Shakespearean inspiration, but shit gets real. These macbitches may be Shakespeare players, but they did not come to play.
The ensemble cast is strong, with each of the five embodying different qualities of the passionate, catty, dramatic, and disingenuous stereotypes of theater nerds to much amusement.
The set and staging at the Container Globe — which already offers a unique theatergoing experience — are minimal. But it works, and you’re close enough to the stage to feel like you’re just one of the girls hanging out for the evening.
The show will hit hardest for theater people who can relate to the constant — and fast — chatter about cast gossip, problematic directors, and numerous play and musical references, not to mention its own parallels to “Macbeth.” There’s even a delightful, drunken “Lady Macbeth-Off” of competing monologues that is one of the nerdiest theater things I have ever seen.
But the show speaks to the complicated nature of female relationships in general with a “Mean Girls” undertone that captures the layered emotions and reactions — a blend of support and jealousy — when women are pitted against each other.
It might not bring out the best traits for either group, but as a member of both demographics, I can say that it’s not inaccurate. And the result is funny as hell.
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