Sheffield Crucible – until Saturday 7th February 2026
Reviewed by Claire Moore
4****
Crown of Blood is a bold and powerful reimagining of Macbeth, set during the civil wars of 19th-century Yorubaland. Adapted by Oladipo Agboluaje and directed by Mojisola Kareem, this production places Shakespeare’s familiar themes of ambition, power and fate into a rich new cultural setting — and the result feels fresh.
The story centres on General Aderemi, newly praised for protecting the kingdom from invaders. When he is promoted to Field Marshall, it fulfils the first prophecy made by the oracle. When a second prophecy suggests he will become king, Aderemi and his wife Oyebisi begin a brutal and relentless pursuit of power. What follows is a steady and unsettling slide into violence, driven by ambition, fear and the desire for more.
In a largely a male-dominated world, it’s the female performances that really stand out. Kehinde Bankole is superb as Aderemi’s wife, Oyebisi — quietly powerful, she’s strong, controlled and emotionally charged. Her ability to manipulate her husband into wanting, and believing he deserves more, is very believable and it’s easy to see why Aderemi, (Deyemi Okanlawon) finds her so hard to resist.
Kayefi Osha leads the singing with a beautiful, powerful voice in the Yoruba songs that was a real highlight of the show. It instantly grounded the production in the sounds and spirit of Yorubaland, adding depth and atmosphere throughout. The simple drum beats and energetic movement worked particularly well, providing a striking contrast to the darker themes of death and murder running through the play.
More lighter moments are delivered by Jude Akuwudike as Prime Minister Opaleye, clearly irritated by the arrogant crown prince (Tope Tedela) and bringing some much-needed laughter amid the darkness.
Kevin Jenkins’ costumes are beautiful and clearly inspired by traditional dress from the region. They do a brilliant job of signalling class and status, making it easy to understand the shifting power dynamics on stage. The set itself is very simple — perhaps a little too simple at times — and there were moments where it wasn’t always clear when or where we were. Alexandra Stafford’s lighting design helps to fill in those gaps, marking changes in location and building tension throughout the play. It’s particularly effective during the many murder scenes, where the lighting sharpens the atmosphere and keeps the sense of danger close.
Crown of Blood is a thought-provoking piece of theatre that reimagines a familiar story now deeply rooted in a new cultural setting. With powerful performances, striking music and moments of both tension and humour this is a real opportunity to see and experience something different — the kind of theatre that gently nudges you out of your comfort zone and reminds you why live performance can make life feel that little bit richer and more interesting.