Imagine Macbeth, but seasoned with Yoruba spirituality and ancestral storytelling at its finest.
From the very first thunderous gbedu (big drum) of a war cry, it was clear we weren’t in Shakespeare’s Scotland but immersed in mid-nineteenth century Oyo Empire. Immediately, I knew I was engaged. The sounds, lights, colours and shadows all contributing to an epic experience.
This Yoruba reinterpretation of Macbeth, written by Oladipo Agboluaje, directed by Mojisola Kareem and staged at the Crucible Theatre, Sheffield, transforms a well-known tragedy into a powerful historical triumph.
Crown of Blood explores how untamed ambition and vengeance can change the destiny of generations and ultimately lead to fatal devastation. Fresh from defending the kingdom against invasion, General Aderemi is rewarded with a promotion to Field Marshal, a moment that appears to confirm the oracle’s words, promising him the crown itself. Aderemi and his wife, Oyebisi, find themselves drawn into a ruthless chase for power. One that sets off a spiral of violence and forces them to confront the limits of loyalty, fate and their own moral restraint. We learn how the gods will not be mocked.
Deyemi Okanlawon delivers a commanding portrayal of Aderemi (Macbeth). We watch as the layers of his character are unpeeled until he has absolutely nothing left to give. Opposite him, Kehinde Bankole embodies the role of Oyebisi (Lady Macbeth), she is gripping in the way she manipulates Aderemi and those around them, including the audience. She isn’t simply ruthless; she is strategic, eloquent, and terrifyingly assured, invoking power through ritual as much as persuasion. So when she finally fractures, it is all the more devastating. Together, they have such great chemistry, you almost want their plan to succeed.
The stage direction is assured and culturally precise. Yoruba proverbs are used with restraint, never decorative, always purposeful. The use of live percussion, such as the talking drum and the use of oriki praise chants, shapes the rhythm of the play.
The supporting cast held our attention, each line impactful to the plot, whether there were two or ten characters on stage, they flowed with ease, using the stage efficiently, utilising the floor, overhead, steps and off stage.
The set is minimal but potent: raffia, earth tones, and ritual objects that quietly remind us this is sacred ground being violated.
It was amazing to see such a diverse crowd watching in reverence, enjoying the nuance within the language and truly appreciating the journey. You don’t need subtitles, somehow everything works in complete balance and tandem. Whether you were born and raised in Yorubaland or have never left the UK, you understand the heart of the story and hear the words as clearly as the talking drum speaks. You’ll forever remember how this version of Shakespeare made you feel. And everyone deserves to experience this.
NEED TO KNOW: Crown of Blood runs until 7 Feb at the Crucible, Sheffield and then Belgrade Theatre, Coventry from 11-14 February 2026.
Related links
- Oladipo Agboluaje – interview
- Kehinde Bankole (Oyebisi) and Deyemi Okanlawon (Aderemi) – interviews
- First Look at Utopia Theatre’s Crown of Blood at Sheffield Theatres
- Major ‘Nollywood’ stars headline cast of Utopia & Sheffield Theatre’s Crown of Blood and full cast announced
- Read our New Nigerians interview with Oladipo Agboluaje
