Calling all StageSiders, welcome back to another review! At StageSideUK, we know that no two audience members ever watch the same show in quite the same way. Theatre is a live, shifting experience, shaped as much by personal taste, expectations, and background as by what happens on stage. Jonathan published his review for Weird: The Musical a few weeks ago, and I thought that revisiting the show from a different perspective would be an interesting way to explore how two audience members can have different responses.
With that in mind, here is a second perspective on Weird the Musical, which played Newcastle’s Theatre Royal on Saturday 31 January. As an ex-English teacher and a Shakespeare fanatic, I went in with ambition that could only be described as “vaulting”. So, “by the pricking of my thumbs”, grab your crowns, brace for some witchy mischief, and settle in… the review is about to begin.
The concept is undeniably clever. Macbeth is flipped on its head, giving the Weird Sisters centre stage and letting them drive the narrative rather than lurk ominously at the edges. These witches are bold, purposeful, and unapologetically in control, just what we love to see. Shakespeare’s original language is woven in at just the right moments, enough to reward those who know the play without sending newcomers running for their Arden editions.
The influence of Six is clear, although I thought perhaps too clear. The concert-style format with a modern pop score, and a historical remix approach makes Shakespeare accessible and fun, particularly for a GCSE audience. But Six set the bar high, and the similarities in costume and score means comparisons are inevitable. Personally, I don’t think that Weird the Musical quite reaches those dizzying Tudor heights, but I will say that it still holds its own by delivering enough energy, clarity, and charm to justify the approach, even if it never fully cries “Hail” and claims the crown.
My biggest quibble lies with the writing. I fully appreciate that the target audience skews young and that clarity is king. Still, some moments felt a little too on the nose. It was more prophecy spelled out than subtly foretold. There’s a lot of telling where maybe a bit more trusting of the audience would have elevated things. That said, with a tight 70-minute runtime, I can see how the show was hemmed in by time as much as by treachery.
The tight runtime also means some of Shakespeare’s strongest character arcs feel a bit rushed. If you already know Macbeth, it is easy enough to fill in the gaps, but for anyone coming to the story fresh, I think some of those emotional shifts could feel a little abrupt or confusing. Macbeth’s gradual descent into tyranny and madness feels less like a slow unravelling and more like a sudden plummet, while Lady Macbeth seems to jump from calculated ambition to full instability without enough space in between to fully chart that shift. It is understandable in a show with such a tight runtime, but it does flatten some of the depth and nuance that gives the original story its power.
In places, for me, the performances felt a little underpowered. Moments that should have landed with real dramatic weight, particularly the not-so-heartbroken cries of “horror, horror” on discovering Duncan’s body, came across as oddly casual and monotone, blunting their impact. Similarly, there were sections of choreography that looked more like rehearsal marking than a fully committed performance, which occasionally sapped the momentum from scenes that should have crackled with intensity.
Musically, this is where Weird the Musical truly finds its feet. ‘Banquo at the Banquet’ and ‘Bubble Bubble’ were stand-out numbers for me. They were both bursting with energy, wit, and a sense of genuine fun. These songs had real bite and showcased the show at its most confident, proving just how entertaining Shakespeare can be when he is allowed to dance, lean into the absurd, and fully embrace the theatricality of it all. The performers looked as though they were having a great time on stage, and, admittedly, that enjoyment was infectious. It lifted the atmosphere in the auditorium and allowed the audience to lean in and enjoy the ride alongside them.
Accessibility
In terms of accessibility, the 70-minute, interval-free runtime makes Weird the Musical an easy and manageable watch, particularly for younger audiences and school groups. The narrative is clear and fast-paced, requiring no prior knowledge of Macbeth to follow. It is worth noting, however, that the production makes frequent use of flashing lights and loud sound effects as part of its concert-style aesthetic. Audience members who are sensitive to strobe lighting or sudden loud noises may wish to take this into consideration before booking.
Value for Money
For a 70-minute show, Weird the Musical offers fair value, particularly for schools and younger audiences. We paid £15 for our tickets, and for that we got a tight, high-energy piece of theatre that knows its audience and plays to them confidently.
Overall, Weird the Musical as a concept is something I genuinely admired. The witches are strong, the ideas are smart, and the intention is clear. However, I just wanted it to push a little further and maybe trust that the audience could handle a little more nuance. Still, even if it doesn’t quite wear the crown for me, it’s far from a tragic ending.
Have your say!
Have you seen WEIRD the musical? What did you think of this brand new musical? Did you agree more with Jonathan or Alyx?
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Jonathan Harper