I’m not too familiar with Macbeth, or any of William Shakespeare’s work, for that matter, but that didn’t stop me from enjoying it. If you’re like me and have little to no prior knowledge of Macbeth, first performed in 1606, it’s a tragedy that dramatizes the physical violence and psychological effects of political ambition and power.
Enter the serpent under ‘t, a dance-theater adaptation of the English classic, conceived and directed by Nigel Semaj, that blends music, dance, spoken word, and Edgar Allen Poe to unpack the underbelly of Macbeth’s rise to political prowess.
And in 2026, this phenomenon is more prevalent than ever. One that is echoed and memorialized by well-timed, witty jokes told by The Kindly Ones (Lily Arbaugh), such as “Voting is choosing who f*cks us next” and “Politicians don’t fly planes; they’re too busy fighting over the next wing,” with references to Bible verses and witch hunts, including the infamous Salem Witch Trials.
Immediately, I was transfixed by the interactive, immersive setting (carpentry, props, and scenic artist Tyler Burst) that introduces us to the story well before anyone actually took the stage. The performance opens with The Kindly Ones humming “Row, row, row, your boat,” a popular childhood nursery rhyme, followed by a brief monologue in which she instructs the audience to clap, prompting the curtains to rise (stage management by Jada Abbott).
Once the curtains open, the atmosphere shifts to something spookier and a bit haunting as we’re entertained by the first of several musical dance numbers (directed by Nigel Semaj with assistance from Morgan Decker). The titular character, Macbeth, played by Hassan Aziz, comes alive in his portrayal, with an understanding and passion for the role that’s even more evident in his solo scenes.
Now, here comes a neat trick — the production makes use of an old-school, 1990s camcorder to amplify the scenes where Lady Macbeth (Jadyn Fleming) and Macbeth are alone with nothing but a mic (sound design by Dylan Glatthorn) to display different angles of them on the screens (head electrician, Evan McDougall) that double as set decor.
At times, the show felt like it was dragging, especially when I realized it was at the hour mark yet still felt anticlimactic and scattered, bouncing from one thing to the next. The occasional ASMR-like audio didn’t help either, as I found myself getting sleepy.
However, the production made sure to emphasize the danger of fear, with powerful statements such as “Sometimes, the witches are four little girls in Birmingham, little boys in Mississippi, or someone sleeping in their bed,” reminding us that, as in Billie Holiday’s “Strange Fruit,” the burning and hanging of witches is still here.
the serpent under’t plays through November 8, 2026, presented by the University of Maryland-Baltimore County Department of Theatre at the UMBC Proscenium Theatre. Purchase tickets ($10–$15) online. In order to make sure you have a view of the ASL interpreters, they ask that you email PahbBoxOffice@umbc.edu
The program is online here.
Recommended for ages 13+. Includes staged violence, including murder; alcohol use; themes around death, mortality, and violence; violent and religious imagery; choreographed romantic/suggestive interactions.
The UMBC Department of Theatre presents….
the serpent under’t
An Adaptation of Shakespeare’s Macbeth
Conceived and Directed by Nigel Semaj
