Weyward Macbeth Intersections of Race and Performance

Scott L. Newstok is Assistant Professor of English at Rhodes College, and organized the 2008 symposium on Macbeth and African-American culture. In addition to publishing essays on Shakespeare and film, he has edited a volume of Kenneth Burke’s Shakespeare criticism, Kenneth Burke on Shakespeare (Parlor Press, 2007), and has written a study of the rhetoric of English epitaphs, Quoting Death in Early Modern England (Palgrave, 2009).

Ayanna Thompson is Associate Professor of English and Women & Gender Studies at Arizona State University, and specializes in depictions of race in the Renaissance. She is editor of a collection of essays, Colorblind Shakespeare: New Perspectives on Race and Performance (Routledge, 2006), and author of Performing Race and Torture on the Early Modern Stage (Routledge, 2008).

PART I: Beginnings * What is a “Weyward” Macbeth?--Ayanna Thompson * Weird Brothers: What Thomas Middleton’s The Witch Can Tell Us about Race, Sex, and Gender in Macbeth--Celia R. Daileader * PART II: Early American Intersections * “Blood will have blood”: Violence, Slavery, and Macbeth in the Antebellum American Imagination--Heather S. Nathans * The Exorcism of Macbeth: Frederick Douglass’s Appropriation of Shakespeare--John C. Briggs * Ira Aldridge as Macbeth--Bernth Lindfors * Minstrel Show Macbeth--Joyce Green MacDonald * Reading Macbeth in Texts by and about African Americans, 1903–1944: Race and the Problematics of Allusive Identification--Nick Moschovakis * PART III: Federal Theatre Project(s) * Before Welles: A 1935 Boston Production--Lisa N. Simmons * Black Cast Conjures White Genius: Unraveling the Mystique of Orson Welles’s “Voodoo” Macbeth--Marguerite Rippy * After Welles: Re-do Voodoo Macbeths--Scott L. Newstok * The Vo-Du Macbeth!: Travels and Travails of a Choreo-Drama Inspired by the FTP Production--Lenwood Sloan * PART IV: Further Stages * A Black Actor’s Guide to the Scottish Play, Or, Why Macbeth Matters--Harry J. Lennix * Asian American Theatre Re-imagined: Shogun Macbeth in New York--Alexander C. Y. Huang * The Tlingit Play: Macbeth and Native Americanism--Anita Maynard-Losh * A Post-Apocalyptic Macbeth: Teatro LA TEA’s Macbeth 2029--José A. Esquea * Multi-cultural, Multi-lingual Macbeth--William C. Carroll * PART V: Music * Reflections on Verdi, Macbeth, and Non-Traditional Casting in Opera--Wallace McClain Cheatham * Ellington’s Dark Lady--Douglas Lanier * Hip-Hop Macbeths, “Digitized Blackness,” and the Millennial Minstrel: Illegal Culture Sharing in the Virtual Classroom--Todd Landon Barnes * PART VI: Screen * Riddling Whiteness, Riddling Certainty: Roman Polanski’s Macbeth--Francesca Royster * Semper Die: Marines Incarnadine in Nina Menkes’s The Bloody Child: An Interior of Violence--Courtney Lehmann * Shades of Shakespeare: Colorblind Casting and Interracial Couples in Macbeth in Manhattan, Grey’s Anatomy, and Prison Macbeth--Amy Scott-Douglass * PART VII: Shakespearean (A)Versions * Three Weyward Sisters: African-American Female Poets Conjure with Macbeth--Charita Gainey-O’Toole and Elizabeth Alexander * “Black up again”: Combating Macbeth in Contemporary African-American Plays--Philip C. Kolin * Black Characters in Search of an Author: Black Plays on Black Performers of Shakespeare--Peter Erickson * Epilogue: ObaMacbeth: National Transition as National Traumission--Richard Burt * Appendix: Selected Productions of Macbeth Featuring Non-Traditional Casting--Brent Butgereit and Scott L. Newstok

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