Screw Your Courage

Keith Badham founded Up-Stage as a way to introduce less confident young people to theatre and self-expression. Screw Your Courage was performed in the group’s 20th year by Centre Stage 21 – a late-teen subset of Up-Stage – who were eager to tackle something grittier and more challenging.

As noted in Badham’s Lazy Bee profile, Screw Your Courage presents “an enthralling new look at Shakespeare's Macbeth, set in the modern world of teenage gang culture,” where “the audience are welcomed into the action with imaginative use of asides and stage directions.” This description could not be more apt. Shakespeare’s stories are timeless, and this production continued that tradition with originality and conviction. Just as The Lion King reimagines Hamlet, 10 Things I Hate About You transforms The Taming of the Shrew, and She’s The Man reinterprets Twelfth Night, Screw Your Courage brings Macbeth into a raw, urban world. The familiar themes of power, paranoia, morality, and the eternal struggle between good and evil were cleverly mirrored throughout the piece.

The characters’ names were adapted to suit what appeared to be a 1990s East London setting – Candice in place of Lady Macbeth, John for Macbeth, and Doreen, Edna and Rita for the three Wyrd Sisters. The movement, style, and costume design effectively reflected Badham’s interpretation. Tracksuits, gold chains, low-slung trousers and hoodies captured the essence of the youthful gang culture of the time, bringing a vivid realism to the modern adaptation.

The play opened on a darkened stage with a single bench. Stella Archer, as the narrator, entered dressed in a black tracksuit adorned with gold lettering, jewellery, and makeup – instantly setting the “chav” aesthetic. Archer’s expressive face, physicality, and confident stage presence was impressive. As the only character speaking in Shakespearean verse, her delivery reinforced her position as an omniscient observer, linking the audience directly to the unfolding story.

The Wyrd Sisters – Hannah Reeve (Doreen), Katie Timpson (Edna), and Roxy Allen (Rita) – demonstrated a strong dynamic. Roxy Allen’s use of body language, particularly her eye-roll and delivery of “bastards,”  (This was delivered by Hannah Reeve as Doreen) was highly effective, while Timpson’s facial expressions were memorable and engaging. Their interpretation of the witches as gossiping pensioners with time on their hands was well-conceived. However, these scenes might have benefitted from a little more movement and variation in physical levels to enhance energy and pacing. Some exaggerated “old age” vocal and physical traits could also have added comedic depth to their portrayal. The bench used by the Wyrd Sisters provided a fitting “observer” position for the trio, and a delightful observation: the witches’ names (Rita, Edna and Doreen) form the word “RED” – a subtle but clever creative foreshadowing touch, intentional or not.

The relationships between characters were well developed, most notably between Myla Hannen as Candice (Lady Macbeth) and Chazza Simmons as John (Macbeth). Their partnership truly captured the essence of Shakespeare’s iconic power couple. The pair convincingly explored the shifting balance of dominance and guilt, from ambitious co-conspirators to tormented souls. Clear character development was evident as John sought to expand his influence within the gangs of London, spurred on by Candice to murder Bobby (Alice Southern). Their descent into regret and madness was portrayed with striking clarity – culminating in Candice’s suicide and the tragic loss of her unborn child.

Simmons handled the knife prop with trembling precision, embodying John’s cowardice with subtle realism, while Hannen commanded the stage from her first entrance. Her feline movement, poised stature, and slow, deliberate delivery projected control and confidence. The physical dynamic between them, one large and dominant, one small and cowardly – particularly during the moment Hannen circled Simmons as she persuaded him – was powerful and visually engaging.

Charlie Williams gave a standout performance as Terry (Banquo), John’s loyal but undervalued sidekick. Williams effectively portrayed Terry’s devotion through mirrored movements and posture, highlighting his effort to appear tough while maintaining moral integrity. His confrontation scene, where Terry finally spoke out against John, was particularly compelling – his voice and stature rising with conviction, only to meet a tragic fate. This moment carried genuine emotional weight and created palpable tension.

Alice Southern also delivered a strong performance, her voice carrying effortlessly across the hall with clear diction and projection. As Bobby (King Duncan), she embodied confidence and authority – the very qualities John lacked. Southern’s facial expressions were consistently authentic, whether playing Bobby or the Devil on the shoulder (Alice played the Interpreter…The Devil was played by Maddie Laurie), and she brought impressive nuance to each role. The supporting cast contributed significantly to the overall impact, particularly in the murder party scene and Terry’s funeral. The ensemble demonstrated their collective strengths, and while at times could focus on clearer articulation and varied vocal tone, their collective energy enhanced the drama of the ensemble moments.

Lighting and sound, managed by Keith and Rachiel (Rachael) Bowie, enhanced the atmosphere throughout. The use of red lighting during moments of plotting and murder created a strong sense of foreboding, while the colourful, pulsating effects in the party scene added vibrancy. Focused spotlights at key dramatic points were an excellent choice, literally and metaphorically bringing pivotal struggles to light. Props were used thoughtfully, particularly the dagger – a respectful nod to Shakespeare’s original symbolism.

Overall, Centre Stage 21 has much to celebrate. Taking to the stage requires immense courage, and every performer should feel proud of their achievements. Theatre reminds you that you are not alone, and this group exemplified that spirit beautifully. The group’s dedication to each other and to the craft is commendable.

Centre Stage 21 deserves to perform. Centre Stage 21 deserves leaders like Keith Badham who nurture and inspire. Be more like Keith. I very much look forward to seeing how these young members develop on the stage.

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