Think humans are the only species who love Shakespeare? Think again! There are goblins currently roaming around Toronto, in search of a theatre space where they can put on their favourite of the Bard’s works: Macbeth. Kragva, Wug, and Moog are bringing their passion and prowess to the stage in this hilarious partially-improvised retelling of Shakespeare’s most bloody play. Goblin: Macbeth is a wild experience for bardolators and “fresh meat” alike.

*For this next paragraph, read it in Rod Serling’s voice. It’ll set the mood

Picture yourself, if you will, in the lobby of Tarragon Theatre. You’ve perused the new artwork along the walls, taken a selfie with the new backdrop, grabbed a signature cocktail from the bar…yet the doors haven’t opened. As you patiently wait, you happen to catch a glimpse out the front doors which reveals three goblins, all dressed in black with pale skin and pointy ears and noses, speaking to other patrons outside! They burst through the front doors “Hello humans! We’re looking for a theatre!” Once they’ve received their answer which you hesitantly give, they rush the whole lobby into the theatre. Their guerilla style approach to finding space has worked, and your adventure is about to begin.

*And now back to your regularly scheduled theatre critic

The brilliance of Goblin: Macbeth comes from the performers profound respect for, and knowledge of, Macbeth itself. Masters of the language and themes, Kragva and Wug brilliantly execute the majority of the text themselves, with supporting roles from Moog. Their collective excitement to put on the Shakespeare play which they connect the most to is oddly heartwarming given the dark nature of the play; yet for those of us who love the bard, a very well-known feeling. However, Goblin: Macbeth also includes a great deal of improvisation and dramaturgical work to fit it into the ninety-minute timeframe, yet the cuts are smart and don’t detract from the heart of the story. For example, initially the exclusion of the porter was mildly disappointing but understandable, therefore his reappearance in another famous scene for a few bad jokes was a delightful, and well executed, surprise.

There’s also a  brilliant meta-theatrical nature to the performance, as the goblins frequently remind us that we’re all watching them put on a play. They even go so far as to threaten the lighting operators when they intervene and manage to cajole a young Tarragon volunteer into being their assistant (bless her soul). Their excitement over the lighting (beautifully designed by Anton DeGroot) and the various set pieces they find on stage when they enter the space has the eagerness of an anthropologist finding a new civilization. Their contagious enthusiasm immediately gets the audience on their side, and prepared for their role within the production as well!

Moog’s main task is to provide the eerie soundscape for the production. Making use of a combination of instruments and sound effect tools Moog brings the world of Macbeth to life. He even brings his instruments into his performance as Fleance, rocking out to Deep Purple on the accordion. 

Goblin: Macbeth is Shakespeare unlike you’ve EVER seen it before. I’ve actually been finding it difficult to express my absolute delight and enjoyment of this production. From the moment the goblins burst through the door to the final curtain, I was smiling; enthralled by the work set out before me. You will absolutely regret missing Goblin: Macbeth at Tarragon Theatre this fall; the perfect way to celebrate spooky season with a Shakespearean twist! For more information and tickets, visit: GOBLIN:MACBETH – Tarragon Theatre

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Cover Photo: GOBLIN:MACBETH – Tarragon Theatre 2024 – Photos by Jae Yang.

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