My Macbeth

And the ghost of lone and level sand that’s stretched far away boundless and bare
Photo : © Mehrdad Motejalli
My Macbeth, and the ghost of lone and level sand that’s stretched far away boundless and bare, is the latest production of Beyn Theater Group. It is an adaptation of William Shakespeare’s Macbeth (initially titled "Macbeth Reconstructed” at the beginning) by incorporating carnivalesque form, inspired and developed in the aftermath of woman-life-freedom movement, and current atmosphere of Iran’s society.

Duration of the production:
70 min, without break

Year of the premiere:
December 19, 2025

Dossier:

Director/Scenographer
Mehdi Agahikeshe

Dramaturge
Ali Rafati

Lighting Designer
Mehrdad Motejalli

Costum Designer
Maryam Nourmohammadi

Performers
Sepehr Tehranchi
Ava Sharifi Khorasani
Esmaeeil Kamali Dehghan
Ali Asadi
Erfan Pishro
Ayda Babalkhani
Maedeh Ali Akbari
Kiana Hajitaleb





Intention Note


The starting point of this project emerged in the aftermath of the Woman-Life-Freedom movement. Witnessing women and other marginalised individuals confront systems of authority led us to reconsider the figure of the witches in Shakespeare's Macbeth. Historically, those accused of witchcraft were often women whose beliefs, knowledge, or ways of living challenged dominant structures of power. Inspired by this parallel, we approached the witches not as evil beings but as women of society who have grown tired of corruption, violence, and political indifference.

This reinterpretation led us to a central question: what happens when those who seek change place their hopes in a new ruler? In our adaptation, the witches desire justice and transformation. They encourage Macbeth to overthrow Duncan because they believe another world is possible beyond the failures of the existing regime. However, the project gradually reveals that replacing a ruler does not necessarily transform the structures that produce oppression. Macbeth's rise demonstrates how power itself can corrupt, regardless of the intentions that originally justified political change.

Rather than presenting a simple opposition between good and evil, the performance investigates the tragic repetition of political history. The witches' hopes are genuine, yet the revolution they imagine ultimately reproduces the same violence it sought to overcome. Through this perspective, the performance explores the relationship between power, memory, and collective disappointment. It asks whether meaningful change can be achieved merely by replacing individuals at the top of the hierarchy, or whether the cycle of oppression continues as long as the structures of power remain intact.

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