You have surely heard of Macbeth, one of William Shakespeare’s greatest tragedies. But did you know that, in São Paulo, this classic is getting a great makeover — or, more specifically, a great drag makeover?
This is the proposal that the theater company Cia. Extemporânea brings to Sesc Pompeia with its Shakespeare in Drag project, with Macbeth being the second Shakespearean tragedy to be adapted using the language and visuals of drag queen culture.
More about Shakespeare in Drag
Launched in 2023, this project by Cia. Extemporânea incorporates elements and plotlines from the classic plays of William Shakespeare, blending them with an all-drag-queen cast and contemporary drag language, while preserving the core essence of both sides. The result is a series of theatrical productions that combine the characteristic tragedy of Shakespeare with the aesthetic and behavioral subversion inherent to the genre, now viewed through a fresh lens (a drag lens, of course!).
The first tragedy adapted by the project was King Lear, which premiered in 2024 at Sesc Consolação, in São Paulo. The play was a major success, seen by over 10,000 people in less than two years and performed across several Brazilian states. It also earned the prestigious Shell Award in the “Best Actor” category for Alexia Twister, recognized for her portrayal of King Lear, making her the first drag queen to ever win a Shell Award.
Macbeth gets its new take
Now, in 2026, the play chosen by Shakespeare in Drag to get its adaptation is Macbeth. Stage direction is led by Ines Bushatsky, while the script is written by João Mostazo, both of whom are creators and directors of the project. The play premiered in September at the 8th edition of “Extensão Mirada: Ibero-American Performing Arts Festival”, in Santos. Following acclaim from both audiences and critics, the production moved to Sesc Pompeia in October, where it’s running until mid-November.
In this story, General Macbeth encounters three witches on a desolate heath while returning from war, who prophesy his future as King of Scotland. Motivated by this prediction, he and his wife, Lady Macbeth, plot the murder of King Duncan and the usurpation of the crown. The crime, however, plunges the kingdom into a spiral of terror and conflict, while burdening the couple with guilt. Consumed by anguish and paranoia as he sees his crown threatened, Macbeth transforms into a tyrant within that society.
The cast remains the same as in King Lear, once again featuring Alexia Twister, Thelores, Ginger Moon, DaCota Monteiro (former contestant from seasons 4 and 6 of Corrida das Blogueiras), Lilith Prexeva, Mercedez Vulcão (former contestant from season 2 of Drag Race Brasil), Xaniqua Laquisha, Antonia Pethit, and Maldita Hammer.
The importance of bringing a queer perspective to classics
Projects like Shakespeare in Drag serve as a manifesto on identity and the deconstruction of classical drama. Some works don’t necessarily need to be rewritten to convey a different meaning or to reach different people, they simply need to be revisited through an unconventional lens. After all, even if it wasn’t discussed at the time, the LGBTQIAPN+ community has always existed and always will — and reimagining classics like these is one way of making that presence visible.
In an interview with the Tadeu Ramos channel, director Ines Bushatsky explains that, in the project’s two productions, gender roles are presented in a way that’s less static and rigid than in the original plays, heavily marked by the misogynistic and traditionalist perspectives of their time. In this sense, the art of drag serves to “rethink traditional figures through the lens of political and aesthetic elements drawn from the LGBTQIAPN+ universe.”
Furthermore, she discusses the use of contemporary slang and references to Brazilian culture: “What effect did Shakespeare achieve when his characters used the slang of their day? To capture this, (João) Mostazo incorporates references to lines and expressions from Brazilian culture and literature, thereby bringing familiar poetic inspirations closer to the audience.”
The result could only be one thing: a resounding success, with most performances sold out and acclaim from everyone who has seen the play, which the company promises will not be the last one from this project. Which one will come next?
The run of Macbeth at Sesc Pompeia concludes this Sunday (15), and tickets for the final performances are already sold out. However, a very limited number of tickets for select dates are available at the physical box offices and can be purchased at any Sesc São Paulo location.
Catch the show while you can!
Macbeth
Sesc Pompeia: R. Clélia, 93 – Água Branca, São Paulo.
Showtimes: Thursday and Saturday: 8:00 PM; Friday: 4:00 PM and 8:00 PM; Sunday: 6:00 PM.
Tickets: Full price: R$60,00; Half-price: R$30.00; “Credencial Plena” (full-access credential) members: R$18,00.
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The article above was edited by Nina Simonetti.
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