All is But Fantasy is composed of two separate productions, each made up of two pieces. The first is Lady Macbeth, Emilia, and the second Juliet, Richard III. It draws on the texts of Macbeth, Othello and Romeo and Juliet to interrogate female power and asks if, even when women seemed to have gained it, it really has any substance. As a black woman, White is interested in the way that black women’s autonomy, in particular, is undermined, and how they are stereotyped as hyper-sexualised to make them appear a threat.

In Richard III, in a clever turnaround for the books, White demands to play the lead role to feel what it’s like to have male power. Daniel Krikler takes on the role of Lady Anne, finding out what it is to be subjected to male domination. It raises questions about whether subversion of traditional power roles really brings any answers. Maybe real change looks different?

Each piece is a play within a play, with actors moving seamlessly between their characters and their real selves. The fourth wall is broken throughout, giving the feel of a conversation with the audience. The format is humorous and engaging, the rhetorical question summing things up: “Why do all the women die by Act V?”

The tone is often dark, hardly a surprise given the themes in three of the texts, namely lust for power, thirst for revenge, and willingness to kill. In Juliet, with its focus on young love, the darkness lightens a little, until we are reminded that Juliet’s position, at the age of just 13 and on the point of an arranged marriage to a far older man, is mirrored today in the form of child abuse.

Tough though the content is, the stage delivery is compelling. The presence of the three witches from Macbeth in all four of the pieces is a brilliant device. Providing a chorus, they comment on, interpret and amplify the action, and form a link across each of the pieces. In the intimacy of The Other Place at the RSC, this works well.

Musical styles range from rock and blues to gospel and soul, with a touch of the hymnal thrown into the mix. The harmonies conjured up by Renée Lamb, Georgina Onuorah and Timmika Ramsay as the three witches are rich, and their dramatic interpretation of songs is dynamic. Their choreographed movements fill the stage as they strut their stuff. White’s voice is striking, her range is broad and her presence on stage is strong. These women are nothing if not confident, and rightly so.

Daniel Krikler, in the character of Man, is also a fine singer and performer, holding his own on stage within this powerhouse of women. His would-be rock star status surfaces when he smashes up a guitar. Juliette Crosby fulfils traditional expectations of Desdemona and Shadow Juliette with her feyness and her long blond hair.

The whole is enriched by the use of Shakespeare’s text throughout. As Witney says, it’s not that she doesn’t rate him. She certainly does! It’s just that she reserves the right to look into what he’s doing with women’s roles

The set is minimal. The band is upstage and one or two props differentiate the settings. But the costumes speak volumes. The black garments of the witches in Macbeth have a loose flow about them. In Richard III, still in black, their costumes have structure and control. Macbeth and Lady Macbeth change from black leathers to crimson gowns after the murder of Duncan, he smoking a cigarette, a sure sign that they have done the deed, if not two!

As writer, director, composer and performer, White has taken risks. Of the four pieces, Juliet has less of her razor-sharp critique of the original Shakespeare text, and feels a little thin. The final ending is, perhaps, overly spelt out. But, as a whole, All is But Fantasy is a tremendous achievement and definitely one that makes a mark.

Choreography was by Sarita Piotrowski. Set and costumes were designed by Soutra Gilmour.

For further information visit rsc.org.uk.