Deanne Katshunga, Shailyn Pierre-Dixon, Deshreeni Puhambugoda, Thea Hesler and Ellyse Wolter in MacBitches | Photo by Jeremy Mimnagh
Despite how ultimately silly it is, MacBitches delivers some truly unnerving vibes. Egos, insecurities and theatre school references abound in Sophie McIntosh’s play about a quartet of senior year acting students getting butthurt over a perky freshman scoring the sought-after role of Lady MacBeth. As petty rivalries, alcohol and mounting tension leads to an absurdly Shakespearean climax, this dark comedy has plenty of attitude.
Presented by Toronto Metropolitan University’s Performance at The Creative School and featuring a cast of fourth year acting students, the material, I imagine, is inherently relatable to them. Guest director Abigail Whitney brings a grand style to this consciously Mean Girls-adjacent material. Her recent Next Stage Festival production of The Noose was considerably more nuanced, but there are no searing insights to be conveyed here, just ghastly fun to be had in all the snark and scheming. This production sacrifices restraint for its greater purpose: to allow the student cast and creative team the opportunity to showcase their various abilities.
Right from the top, the operatic intensity is established. An opening scene—where news of the popular Rachel (Shailyn Pierre-Dixon) being usurped by a seemingly naive Hailey (Deshreeni Puhambugoda) spreads through frantic phone calls—is underscored by the iconic Moderato from Swan Lake, with Pierre-Dixon reaching a maniacal fever pitch as the music crescendos. Bernalli Rosales’ sound design features a lot of classical music, as well as some atmosphere and dramatic punctuation in the form of an ominous thunderstorm. Of the many striking visuals, Rachel’s menacing form poking through the fabric of a divider is effectively ghoulish. (A nod to A Nightmare on Elm Street?). Faces bathed eerily in the glow of cell phones is another inspired flourish.
The bulk of the play is theatre school grumbling and gossip while Rachel and her entourage—Alexis (Thea Hesler), Piper (Deanne Katshunga) and Cam (Ellyse Wolter)—get Hailey liquored up to fall into some devious trap. Though it mostly feels like dramatic posturing, this ensemble is compelling enough, their distinct vibes hinting at baggage both explicit and subtextual. Their competitive tension culminates in a monologue battle between Rachel and Hailey, where their individual versions of the “unsex me here” speech gradually unites them in a shared passion. Pierre—Dixon and Puhambugoda’s synchronized energy here is undeniably thrilling, though neither is delivering a particularly grounded Lady M; they are, however, serving up peak diva.
Their meandering discussions gradually reveal a scholastically inappropriate dynamic with a male professor who casts and directs these productions they are desperate to be in. In this context, their viciousness seems a troubling byproduct of ambitions being bound to predatory, opportunistic male authority and validation. McIntosh’s play, though, doesn’t really want to go there; she has a more flamboyantly nasty spectacle in store for us.
Though there is a lag in the momentum when Hailey passes out and we get some heartfelt moments I wasn’t at all invested in, when the blatantly sinister aspects of the story finally play out, it is impressively eerie and distressing. It even goes full Grand Guignol in one hilariously gruesome episode.
Carina Fung’s dorm room set is crude, relying on the ubiquitous curtains, dividers and stage blocks of an average theatre school. These trappings burst with expressionistic urgency under Emily Taylor’s vibrant lighting design, where garish colour amplifies the outrageous aspects of the story. Paulina Tapia’s costumes are also pretty wild. As if these young actresses have retained fragments from the many parts they’ve played, their outfits are a stylish, gaudy hodgepodge—leather fetish-wear, royal gowns, medieval chainmail, denim. From those awful red plastic party cups to snazzy daggers, Jason Ramos’ props contribute further texture to this whole affair.
I’d be curious how this plays with a more naturalistic rendering. The script isn’t especially shrewd and the execution is a little clunky here and there, but this has plenty inventive stagecraft and quirky, intriguing theatrics. More to the point, it offers a glimpse at the ample talents of those involved and the potential for strong future work.
MacBitches
running March 7 to 14, 2025
TMU’s The Creative School, Performance Studio Theatre (345 Young Street)
running time: 90 minutes (no intermission)
Shailyn Pierre-Dixon and Deshreeni Puhambugoda in MacBitches | Photo by Jeremy Mimnagh