ABSTRACT
This chapter examines Hong Kong’s leading director Tang Shu-wing’s production of Macbeth (2016), which represents the Macbeths as a contemporary Hong Kong couple experiencing the 2014 umbrella revolution. Unlike most Asian Shakespeares, Tang’s adaptations do not follow a traditional aesthetic form, although like Asian theatre they eschew realistic representation. Like Hong Kong, poised between Western and Chinese traditions, the production represents neither national theatre nor a heritage genre production but rather an in-betweenness of the categories of the global and the local which problematises the expectations of an indigenised local required of Asian productions.
