I had the chance to watch “Macbeth” by William Shakespeare, performed by the National Theatre of Kosovo, and witnessed true magic on stage! The fact that I do not understand Albanian language actually had a positive effect, as it allowed me to notice and appreciate even more the creative work behind this masterpiece.
There is no need to retell the plot of “Macbeth”—it’s well-known to most. What the audience will have the chance to see and feel with this production is why and how the theme remains so relevant today, the consequences of greed and the thirst for power, and how they can spiral out of control to a point of no return.
An important distinction, shaped by the director’s creative vision, is that King Duncan closely resembles King Lear, representing the final ruler of an absolute monarchy. His death is portrayed on stage after a grand celebration, reflecting elements of the true historical narrative. On the other hand, Macbeth appears as the leader of a parliamentary republic, as revealed through the depiction of time travel to the present.
Blue blood begins to spill onto the stage with the death of the legitimate king and continues to flow, marking the decline of the monarchy. In contrast, red blood emerges as the illegitimate king starts eliminating those closest to him. Eventually, the two streams collide on stage, but the red overpowers, staining everyone’s shoes and culminating in Macduff‘s decisive act of killing Macbeth.
The director, Qëndrim Rijani, continues to amaze and surprise with his bold, provocative, and unique style, constantly exceeding expectations. The production is as powerful, profound, and sophisticated as the theme it explores. It offers a rich palette of stimuli—challenging the audience emotionally, intellectually, musically, and visually—maintaining a dynamic pace throughout. The extraordinary harmony achieved between the actors and the artistic collaborators is evident and crucial for creating such an exceptional show.
Adrian Morina (Macbeth) completely owns the stage, both literally and figuratively. He performs with great confidence and freedom, complemented by captivating stage movements. His transitions between different emotional states are remarkable and are further enriched by Gresa Pallaska (Lady Macbeth). Their perfectly synchronized stage partnership is a rare sight.
A notable divergence worth mentioning is that Lady Macbeth, instead of dying in her room, dies on stage alongside Macbeth. This alteration allows us to witness Macbeth’s outpouring of love for her, acknowledging the subtle ways she protected, supported, and encouraged him throughout her life.
Although Adrian Morina dominates, he does not overshadow the performances of the other actors. Each of them is equally talented, consistent, and fitting for the role, and the development of the action is conveyed with complete clarity through their collective performance.
Another director’s intervention in the scope leads to one particularly powerful scene, delivered by Ilire Vinca as Lady Macduff. On stage, she dies overwhelmed by sorrow and helplessness as she mourns her son (Yzeir Meha), unable to save him from being drowned in a tank filled with Macbeth’s blood.
The scenography by Valentin Svetozarev is absolutely fascinating and skillfully utilized. As the play unfolds, its full potential and multi-functionality are revealed. The mirrors create the impression of having an audience on the other side of the stage. They also allow additional visual scenes to be viewed when actors are facing away from the audience, offering different perspectives. When the mirrors become transparent, they reveal ghosts behind them. Other stage elements, such as human organs, blood, skulls, and water tanks with blue and red paint—each with its own symbolism—are equally impressive. Although they may sound brutal, they are thoughtfully incorporated without causing excessive discomfort but significantly intensify the action. All of this, combined with occasional videographic materials, heightens the emotional intensity.
Trimor Dhomi‘s music is masterful. Performed live by a small philharmonic orchestra, it enhances the enjoyment and amplifies the effect of each scene. The music is skillfully chosen for the emotions it evokes and impeccably performed by both the orchestra and the actors, whose synchronization during the performance is admirable.
The costumes by Marija Pupuchevska are works of art on their own—layered, rich, and luxurious. Stunning creations tailored for each actor, with special attention to detail. They stand out particularly during the spectacular choreography of the three witches and the expressive stage movements of the other actors.
As the production was performed exceptionally well, I was able to understand much of it, even laugh and cry, which says a lot. This is a performance I would undoubtedly want to experience again—a chance not only to enjoy but to fully immerse myself in the magical world of theater.
Credits:
National Theatre of Kosovo
Director: Qëndrim Rijani
Dramaturg: Zoga Çeta Çitaku
Set design: Valentin Svetozarev
Costumes: Marija Pupuchevska
Composer: Trimor Dhomi
Orchestra: Kosovo Philharmonic
Choreography: Artan Ibërshimi
Assistant Director: Erleta Regjepi
Video: Rehan Abdulovski
Audio operator: Arben Aliu
Video Operator: Bujar Bekteshi
Cast:
Adrian Morina – Macbeth
Gresa Pallaska – Mady Macbeth
Shkëlzen Veseli – Banquo
Luan Jaha – King Duncan
Shkumbin Istrefi – Macduff
Ilire Vinca – Lady Macduff
Faris Berisha –Ross
Ermal Sadiku – Malcom, 1st son of King Duncan
Tristan Halilaj – Donalbain, 2nd son of King Duncan
Semira Latifi – Witch 1
Flaka Latifi – Witch 2
Fiona Abdullahu – Witch 3
Basri Lushtaku – Murderer 1
Shpejtim Kastrati – Murderer 2
Ismet Azemi –Soldier
Yzeir Meha – Macduff’s son
📷 Arianit Sopa / Mrinë Godanca
