Macbeth may be one of Shakespeare’s shortest plays, but an 80-minute adaptation that still captures its rich themes and wild-eyed emotion sounds impossible. And yet, that’s exactly what Out of Chaos’s pared-down production last week did. The sheer leanness was made possible by doing away with set design, costuming, and even actors - every part was played by Hannah Barrie, Paul O’Mahony, or a spontaneous chorus of audience participants reading from a boldly scrawled sign.

Keeping the plot coherent under these conditions is a feat in itself, but this performance went beyond that - I think it might be the most comprehensible adaptation of Shakespeare I’ve ever seen. The reason for this is twofold.

One is a deft format, Out of Chaos is likably willing to make unfussy and absurd choices for clarity’s sake, such as leaving in the stage directions (for example: Barrie, playing Macduff, would say ‘Enter Macduff’ before the character’s line) keep the show from becoming a guessing game, as does the actors jumping from mark to mark on stage when playing multiple characters at one. So much is done with silhouette and sound that designers Ashley Bale and Matt Eaton practically play characters themselves. The sound - eerie metal-edged clangs and whistles - and shadow - cold pearlescent blasts of light and dark - add atmosphere and menace without ever pulling focus or obscuring the actors’ deliveries.

Which brings me to point two: these structural choices, while clever and effective, would not be enough to save lacking performances: there is simply nowhere to hide in such a sparse piece. So the virtuoso parlay of Barrie and O’Manony’s many characters cannot be praised enough. Both radiate a lightning-in-a-bottle charisma and give their many characters distinction - and quite a bit of humour, which keeps the darkness striking in contrast. The pair also infuse the titular couple with enough sympathetic warmth and fear that their downfall feels suitably tragic.

The dinner party scene with Banquo’s ghost is particularly thrilling, the lights are turned fully back on over the audience to make us guests at the party. We watch emotions ricocheting from humour to horror to embarrassment, and we can’t tear our eyes away.

The production was masterfully directed by the Oxford Playhouse’s artistic director, Mike Tweddle, and fittingly took place on the Oxford Playhouse stage - but was custom-built for accessibility, travelling light to future performances at schools and festivals. I can’t think of a more perfect production for students than Out of Chaos’: Shakespeare’s poetic writing shines through with diamond-clarity, the themes are boldly displayed, and it’s just damn great enterntainment.