Review: Mother, Maiden and Crone, Fringe 2026

With most modern adaptations of Shakespeare, I like to enter into those experiences with curiosity, optimism, and a healthy dose of trepidation after seeing some truly heinous offerings. With Mother, Maiden & Crone, I did not need the last of those at any point in time. This is a rapturously queer story, taking the trappings of Macbeth and spinning them into a biting, funny fever dream that I would be delighted to see again.

Fair is foul/fowl

Set in Limbo (Bar and Kitchen), our effervescent trio of shot boy, drag queen, and DJ prepare for the coming of the fated hen do. Through impressive physical acting and comedic timing down pat, our trio of witches establish quickly and fully both the world and their characters.

Then, from the fated arrival of McBride, jealousies are sparked, plans are put in motion, and things devolve into high-stakes lip syncs and scandalous revelations.

Foul is fair

There is more in Mother, Maiden & Crone than simply queering Macbeth. That in and of itself is, in the right hands, an interesting idea rife with possibility.

But this piece pushes further into laying bare the truths of the uncertainty of existing as visibly queer in a world that can embrace or ostracize those qualities on fickle whims. The deep and global connections often found between queer people and magic and the occult. How people can be guests in queer spaces responsibly, or very much not in the case of the McBridal party here.

Overall

After a long day of possibly too many Fringe shows, Mother, Maiden & Crone was an absolute tonic. It brought delight, laughter, representation in beautiful and unexpected ways, and made me happy to be out seeing it. The writing is smart, the performances are top notch, and it is my strong opinion that this is a show and company definitely to be watched.