Crown of Blood is a retelling of Shakespeare’s Macbeth set against the backdrop of the 19th century civil wars in Yorubaland. The play is written by Oladipo Agboluaje and is set during the civil wars of 19th-century Yorubaland. It is inspired by the Yoruba-language period dramas watched by Agboluaje in Nigeria in the 70’s and 80’s. This production sought influence from other adaptations of ‘The Scottish Play’, such as Akira Kurosawa’s Throne of Blood and Orson Welles' 1948 film version.
This Yoruba derivative continues with the Shakespearean themes of ambition, regret, spirituality, corruption and consequence. As a joint production between Utopia Theatre and Sheffield Theatres, the cast and creatives are a mixture of seasoned professionals and debutants.
The story follows General Aderemi, who returns home after his latest victory to be promoted to Field Marshall. When an oracle prophecies he will become King, he embarks on a mission to ensure it is realised.
The Crucible stage may have been sparsely populated with props but was well trodden by the sizeable cast as they worked through the acts with music, dance, fighting, poetry and narration. The costumes weaved colour into the production and are an important part of Yoruba culture, such as to recognise social status. In one scene, the historian is made to swap clothes when his position is usurped by a rival.
Set and costume designer Kevin Jenkins is highly commended. With the minimal set and open stage setting of the Crucible, lighting plays an important role in separating multiple storylines. Bethan Clark (Fight Director) and Ben Wright (Movement Consultant) are credited for the excellent dancing and fighting. The climactic fight scene toward the end is accompanied by clever and effective flashes of red lighting and dramatic music.
Deyemi Okanlawon and Kehinde Bankole are impressive leads as Aderemi and Oyebisi. Okanlawon becomes increasingly deranged as his character wrestles with the consequences of ambition. Bankole is a convincing master manipulator. The entire cast plays their part in an entertaining evening and works as a collective, giving a community feel to the proceedings.
Although the storyline and characterisation have their own direction, the overall tale of morality is true to the Shakespeare classic. The message of resisting temptation to gain power, money and influence remains. As does the question of how one person can skew a previously sound-minded society to cede power. With human nature being as it is, these themes will still be relevant in another 400 years.
This production is a welcome addition to the numerous adaptations of Macbeth and will appeal to those familiar with the story. The Yoruba influence works extremely well; with hindsight, I would have read up on Yoruba culture beforehand.
Crown of Blood is a unique theatrical experience blending African history and rituals into classic literature through music, words, dance and colour. It is a fascinating portal into a different world.
Production run (The Crucible Theatre, Sheffield): 2nd February – 7th February 2026.
Running Time: around 2 hours and 40 mins, including an interval.
https://www.sheffieldtheatres.co.uk/events/crown-of-blood
Reviewer: Matthew Burgin
On: 3rd February 2026
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