The Fordham University Theatrical Outreach Program (TOP) has just wrapped up production of its third show of the year, an inspired reinvention of the classic Shakespeare play “Macbeth.” The show starred Jolie Robison, FCRH ’27, as Macbeth and Katherine Bilbao, FCRH ’27, as Lady Macbeth. TOP is an entirely student-run organization that puts on four student-directed shows a year. Beyond giving Fordham students a more hands-on approach to theater, TOP also aims to spread the influence of theater to the youth of NYC by hosting acting workshops for the M.S. 180 Dr. Daniel Hale Williams middle school in the Bronx.
Beyond the rewarding community service, Bilbao commented that working with youth also comes with a generally lighthearted and fun time acting. She told an embarrassing yet memorable moment during her first run through with an audience. TOP had invited a charter school to Collins Auditorium to watch a preview of the show. After hyping herself up in the wings for her big opening soliloquy, Bilbao triumphantly came on stage only to get three words out before face-planting in front of the audience. She mentioned that little goofs like that happen all the time on stage but they don’t phase her. She, along with the other actors interviewed, agreed that the confidence they bring to the stage is owed to the incredible directing staff that guides them through their shows.
A special shoutout must be given to Allie Bianco, FCRH ’25, who seamlessly reinvented the narrative of this classic story to fit a new vision. The TOP-certified version of “Macbeth” is a Western. Replacing the 11th century Scottish castles are tattered old saloons in the middle of nowhere, sword fights become shootouts and the coveted role of king is changed to a fight for the sheriff’s badge. Using the Western setting, this version of “Macbeth” focuses more on the stereotypical expectations of masculinity and its effect on women.
The show was Bianco’s self-described “swan song,” and has been a production that she had envisioned since freshman year. She explains the creative process for the Western lens by saying, “I think that there’s a lot to be said about how ‘Macbeth’ and Wild Western culture mold the general societal expectations of gender. More so there are so many societal expectations pushed on women that still bleed into modern day and I think it’s important to examine the origins of those thought processes.” This change is most present in Macbeth’s arc throughout the narrative.
In this production, Macbeth is changed to be a woman who is pushed by both loved ones and strangers to act more masculine and violently. But as her authority grows, she loses more of her own individuality and grasp on reality. In Act Two, Macbeth is haunted by the ghosts of people she has killed. With the new lens of the show, these visions become the manifestations of an internal fight between two different minds, the feminine voice of kindness and virtue, and the ruthless masculine voice of conquest.
Bianco reflected on how this new version of “Macbeth” reflects the societal push that women are faced with in positions of power like the workplace to completely reinvent themselves for a shot at power. You lose a sense of autonomy over your own existence as the foundations of your soul have to be rewritten to match what is acceptable and encouraged. In pushing yourself to a disingenuous identity, you enter a limbo state of existence where neither your original or invented personality feels like the authentic version of you. The actors interviewed unanimously loved this new change. Ensemble member Eleanor Donohue, FCRH ’27, explained how she related more to the story saying, “It felt like we were reclaiming the work in a way … like as a woman I felt like I related to the problems that our leads were going through and that’s important because famous writers like Shakespeare often ignore our struggles.”
Coming from someone who has acted in a TOP production, what stands out about the production process of this theater group is the much more intimate way that actors work with their material. Most rehearsals are held in a one-on-one setting where the director and actor have an easy time bouncing ideas off each other. Robison commented on the difficulty of playing Macbeth and the endless support she got from the directing team. She commented, “Macbeth was definitely the hardest role I’ve played so far at Fordham. I’m more used to jokey characters so playing someone so serious and nuanced was a big shift. What made it harder was getting used to the big Shakespearean soliloquies. They’re so emotionally rich with acting possibilities and you need to find a way to bounce off yourself in the right way.”
TOP productions have a way of letting actors deeply explore their characters. Bilbao emphasized how the cast became extremely intimate with their characters and found new avenues for expression in the Western setting. Bilbao spoke about the way she felt the West allowed her to make Lady Macbeth a more outspoken and rugged character. She expressed how she felt that the Macbeths’ relationship was more mutual saying, “My character’s probably thinking I’m helping cover up the murder because it’s what’s best for both of us in the end so we just have to suck up our emotions and make it through to the good life we deserve.” Bilbao feels she was able to take her version of Lady Macbeth in a completely different direction, focusing on her struggles between noble intentions and the morally questionable actions to achieve said dreams.
The sun sets on this production of “Macbeth.” I was enthralled by the production and will be patiently waiting for TOP’s final show of the year: “She Kills Monsters” with show dates between April 25 and April 27. It will simply not be the same not having the boundless creativity of Bianco to lead the production of future shows. Future directors will have a tough act to follow.
Editor’s Note: Anthony Farrell acted in a TOP production.
