Crown Of Blood Review: a pressing and crucial approach to human ambition
- Jack Davey
- 16 hours ago
- 3 min read
03 February 2026 I 19:00 I Crucible Theatre, Sheffield
⭐⭐⭐⭐⭐ I PR - Invite
Subsequent to last year's Death And The King's Horseman, Utopia Theatre return to Sheffield with Crown Of Blood, directed by Mojisola Kareem. Gutsy and visceral, this adaptation reimagines Shakespeare's Macbeth during the civil wars of 19th century Yorubaland, and how these societies operated before colonialism.
General Aderemi assumes the guise of Macbeth, promoted to Field Marshall and prophesised to soon become King. Together with wife Oyebisi, a bloody rampage ensues to ensure Aderemi stays on the throne, in a timeless study of political corruption and consequence.
Written by Oladipo Agboluaje, the play is performed in modern English as a production for our times, infused with Yoruba methods of storytelling, music and spiritual tradition. Shakespeare's renowned witches have been removed, in order to shift responsibility back to those committing the violent acts. And being staged in thrust, performers are in a vulnerable position, as audiences are given the agency to cross-examine the human condition in its intimacy.
Rich in costuming, Kevin Jenkins' designs charge a highly visual production. The shaping of King Iwalagba's costume, with intricate layering and patterns, reflects his authority even before text is spoken. Along with Naiambana's commanding stride, the King suitably towers over his subjects.
In contrast to Patrice Naiambana's second role of Èṣù (deity of uncertainty and consequence), he is dressed in distressed red and black fabrics to align with the destructive nature of conflict. Observing the action and leading with surreal movement sequences, an unnerving Èṣù is a highlight to Crown Of Blood.
Fronted by Nollywood screen icons Deyemi Okanlawon and Kehinde Bankole, titans in their field prove quite the formidable stage pairing. Okanlawon's Aderemi is stoic to begin, content with his position. However as his paranoia develops, there is such ambitious intensity behind his eyes, to cause waves of goosebumps. One moment sees Aderemi scan the audience, as I desperately want to shrink into my seat! Most importantly, Okanlawon allows a humility and balance to his performance, to result in a truly compelling tyrant.
Bankole's Oyebisi (equivalent to Lady Macbeth) engrosses in each of her scenes. Characterising her with an innate theatricality, Oyebisi is presented as an intelligent and engaging queen. In private scenes, she can be cold-blooded and ruthless, yet in the public eye she is charming and absorbing. Bankole works the stage like a queen in her own right, with an untouchable dominance.
Symbolism comes first in this adaption, and it's where we receive most of our information. The first scene opens with a battle, as an unknown figure stalks through the centre of the stage carrying a silky red line of fabric. From underneath the throne, this motif of a bloody river recurs through the production, later suspending the throne in mid-air as a condemnation of political bloodshed.
Complete with musical arrangements from Kayefi Osha, a live Yoruba score uplifts the moments of tragedy. Sheffield audiences are transported to another place and time, to a homely and vibrant 19th century Yorubaland, and its effect is transcending.
Reclaiming an infamous Shakespearean text with a Yoruba worldview, Utopia Theatre's Crown Of Blood is a pressing and crucial approach to human ambition. Kareem's creative ownership is precisely the reason that I adore theatre. To challenge familiar conventions, to propose conversations on culture and humanity. A deserving standing ovation for the Crucible Theatre, and one of this century's greatest artistic concepts.
Crucible Theatre (Sheffield) Tickets: https://www.sheffieldtheatres.co.uk/events/crown-of-blood
Belgrade Theatre (Coventry) Tickets: https://www.belgrade.co.uk/events/crown-of-blood/
