The closing four minutes of the production are preserved in the 1937 film, We Work Again.
The Voodoo Macbeth is a common nickname for the Federal Theatre Project's 1936 New York production of William Shakespeare's Macbeth. Orson Welles adapted and directed the production, moved the play's setting from Scotland to a fictional Caribbean island, recruited an entirely Black cast, and earned the nickname for his production from the Haitian vodou that fulfilled the role of Scottish witchcraft.[1]:86 A box office sensation, the production is regarded as a landmark theatrical event for several reasons: its innovative interpretation of the play, its success in promoting African-American theatre, and its role in securing the reputation of its 20-year-old director.
The Works Project Administration provided economic stimulus during the Great Depression and, under its aegis was Federal Project Number One, was responsible for generating jobs in the arts for which the Federal Theatre Project was created. The Negro Theatre Unit was split into two halves, the "Contemporary Branch" to create theater on contemporary black issues, and the "Classic Branch", to perform classic drama.[1]:88 The aim was to provide a point of entry into the theater workforce for black writers, actors and stagehands, and to raise community pride by performing classic plays without reference to the color of the actors.[1]:88–89
Concept
Shakespeare's play is about the downfall of a usurper in medieval Scotland, who is encouraged in his actions by three witches. The central idea behind Welles's production was to perform the text straight, but to use costumes and sets that alluded to Haiti in the 19th century, specifically during the reign of the slave-turned-emperor Henri Christophe.[2]:222 Although the main reason for this choice was that it was an appropriate setting for an all-black cast, Welles felt that it also enhanced the play's realism: he thought the production's popularity was partly due to the fact that the idea of voodoo was more credible to a contemporary audience than was medieval witchcraft.[3]:100
In many productions, the character of Hecate, the Queen of the Witches, is often cut. Instead, Welles turned the character into a pivotal figure. Performed by Eric Burroughs as a huge man with a bullwhip,[1]:86–88 Hecate presides over events as a ringmaster of magicians and often closes scenes.[4] Hecate ends the play with the line, "The charm's wound up", repeated from Act 1.[2]:224 Welles's 1948 film version of Macbeth, in which Hecate does not appear, also ends with this line.
The production used a single, unchanging set of a castle in a jungle. The backdrops featured stylized palm trees and skeleton imagery.[2]:229–231
It is not certain whether the production removed references to Scotland from the text. Welles's promptbook keeps them intact, but in the surviving film record of the production's climax, the line "Hail, King of Scotland" is truncated to "Hail, King".[1]:89
Costume construction by the Federal Theatre Workshop
Backdrop design for the permanent set
Set painting by the Federal Theatre Workshop
The Negro Theatre Unit of the Federal Theatre Project was formed in 1935 under the distinguished actress Rose McClendon.[6]:59 She advised national director Hallie Flanagan that the project should begin under experienced direction and selected producer John Houseman as co-director of the unit.[6]:62–63[7]:179 Their partnership was never realized; it was soon apparent that McClendon was not well, and she made only a few formal appearances before she became critically ill in December 1935.[7]:179[8]
Regarding the unit's name, Houseman later wrote, "the word 'black' was taboo. 'Negro' was in official and general use though there was some ideological disagreement as to whether it should be spelled with a small or a capital N."[7]:177
Houseman had established his credentials as general manager of the all-black production, Four Saints in Three Acts (1934).[3]:99 On the advice of composer Virgil Thomson, Houseman divided the unit into two sections between which the project members themselves could choose and could switch between from one production to another. One section was devoted to original black-themed contemporary drama. "The other," Houseman wrote, "would devote itself to the performance of classical works of which our actors would be the interpreters, without concession or reference to color."[7]:184
"For this fine scheme to work," Houseman wrote, "there was one essential condition — that the quality of these 'classical' productions be exceptionally high. It would be fatal to undertake the risky and difficult business of producing Shakespeare in Harlem until I had found a director of whose creative imagination and power I was completely confident."[7]:184–185
Houseman invited his recent collaborator, the 20-year-old Orson Welles, to join the project. Welles declined at first, since the work would cut into his lucrative radio career and he feared being put back into insolvency, but his young wife Virginia persuaded him to take the job.[9]:80 In the autumn of 1935, Welles called Houseman after he and Virginia had an inspiration.[9]:82 Welles proposed staging an all-black production of Macbeth, transposed from Scotland to a mythical island setting inspired by 19th-century Haiti and the fantasy world of The Tempest. The idea offered creative advantages in music, costumes and settings — and the ability to make the role of witchcraft credible to modern audiences by substituting Haitian voodooism.[3]:100 The production was universally known as the Voodoo Macbeth in advance of its presentation.[2]:229
At Welles's request, Houseman stayed away from early rehearsals,[7]:189 leaving him able to concentrate on the first two Negro Theatre Unit productions, both from the contemporary wing. Walk Together Chillun, written and co-directed by actor Frank Wilson, was the modestly received first production presented in February 1936.[7]:186 The second was Rudolph Fisher's Conjur' Man Dies, a comedy-mystery starring Dooley Wilson (and directed by Joseph Losey) that was a smash hit.[7]:189
In fact, since Conjur' Man Dies was playing onstage while the 150-person cast of Macbeth was rehearsing, their rehearsals had to start at midnight and run much of the night.[10]
The settings and costumes were designed by Nat Karson.[11]:3 Welles and Karson researched Directoire style, uniforms of the Napoleonic era, and tropical vegetation.[7]:185 The sets and costumes were executed by the Federal Theatre Workshop at a cost of $2,000.[11]:8[12]:182
The lighting was created by Abe Feder, later regarded as a founder of lighting design profession.[13] Feder had a difficult relationship with Welles, who he believed was too young and ignorant of the practicalities of theatre; he continued to hold this opinion when interviewed decades later.[2]:232
Welles also faced some difficulties in asserting authority with the black cast and crew but won them over with his energy and warmth,[2]:224 and pleased everyone by cramming the rehearsal space with food and drink.[3]:103 Black cast and crew members interviewed decades later said that Houseman and Welles had their full confidence.[1]:88
"I never would have amounted to anything in the theatre if it hadn't been for Orson Welles," Canada Lee recalled. "The way I looked at acting, it was interesting and it was certainly better than going hungry. But I didn't have a serious approach to it until … I bumped into Orson Welles. He was putting on a Federal Theatre production of Macbeth with Negro players and, somehow, I won the part of Banquo. He rehearsed us for six solid months, but when the play finally went on before an audience, it was right — and it was a wonderful sensation, knowing it was right. Suddenly, the theatre became important to me. I had a respect for it, for what it could say. I had the ambition — I caught it from Orson Welles — to work like mad and be a convincing actor."[14]
Run
The production opened April 14, 1936, at the Lafayette Theatre in Harlem. A free preview two days before drew 3,000 more people than could be seated.[7]:198
"By all odds my great success in my life was that play," Welles told BBC interviewer Leslie Megahey in 1982. "Because the opening night there were five blocks in which all traffic was stopped. You couldn't get near the theater in Harlem. Everybody who was anybody in the black or white world was there. And when the play ended there were so many curtain calls that finally they left the curtain open, and the audience came up on the stage to congratulate the actors. And that was, that was magical."[15]:180–181
Macbeth played for ten sold-out weeks at the Lafayette Theatre (April 14–June 20, 1936).[7]:203[16]:333 The production then moved to the Adelphi Theatre (July 6–18).[16]:333[17] On July 15, Jack Carter completed only the first act, and the performance was completed by understudy Thomas Anderson.[17] Beginning July 16 Maurice Ellis played the role of Macbeth, with Charles Collins succeeding Ellis in the role of Macduff.[18]
The production then toured WPA venues throughout the country, beginning with engagements in Bridgeport (July 21–25)[19] and Hartford, Connecticut (July 28–August 1).[17]Macbeth was performed in Dallas beginning August 6,[17][20] and the production was featured at the Texas Centennial Exposition August 13–23. Performances were presented in the new bandshell and 5,000-seat open-air amphitheatre,[21] where integrated seating was a unique experience for Dallas theatergoers.[22]:64 The production was one of the most talked-about features of the exposition and drew large, enthusiastic audiences. For many it was their first opportunity to see a professional dramatic performance by African American actors.[22]:96
Welles was sent to join the company during the play's run in Indianapolis (August 25–29), to soothe inter-company quarrels that threatened the production after racial tensions escalated during the segment of the tour through the segregated South. Incognito, he performed the role of Macbeth at one performance there,[23] when Ellis became ill.[16]:333 The 4,000-mile tour continued to Chicago, (September 1–13)[24]Detroit, and Cleveland, finishing in Syracuse, New York (September 23–25).[25]
After the company's return to New York, the final performances of Macbeth were presented October 6–17 at the Majestic Theatre in Brooklyn.[6]:393[26] The production was invited to London by impresario Charles B. Cochran, but Welles declined because he was trying to secure his career in New York.[3]:110
The closing four minutes of the production are preserved in a rare 1937 film, We Work Again, a WPA documentary that is in the public domain and can be viewed online.[27] Maurice Ellis and Charles Collins appear as Macbeth and Macduff, indicating that the filming took place after July 16, 1936.[18]
Houseman produced only one more play for the Federal Theatre Project's Negro Theatre Unit. After ten months as the project's director he assured Hallie Flanagan that the unit was viable and should be directed by a triumvirate[7]:208–209 comprising West Indian intellectual Harry Edward,[28]:98–99Carlton Moss and Gus Smith. He and Welles were authorized to create a new Classical Theatre unit[7]:208–209 that became known as Federal Theatre Project 891. Its first production, Horse Eats Hat, opened in September 1936.[16]:334
Juano Hernandez was first cast as Macbeth, but he left the production after just three rehearsals to play the lead in an NBC radio series.[30]:97 Jack Carter, who played Crown in the original stage production of Porgy, was chosen for the role.[7]:189 Rose McClendon was to have portrayed Lady Macbeth, but when she became critically ill, Edna Thomas inherited the role.[3]:101–102 Both Carter and Thomas were light-skinned and wore dark makeup in order to avoid looking different from the rest of the cast.[3]:102 Thomas played Lady Macbeth as a mother figure to Macbeth.[3]:102
Carter was a former criminal and an alcoholic, but Welles cast him despite being warned of his habit of disappearing for weeks on binges. Carter understood the importance of the production to his career and kept his drinking under control during the Harlem run.[3]:101 Welles expended a great deal of time on helping Carter channel his adrenalin into his performance.[2]:226 The two men bonded and hit the nightspots of Harlem together after rehearsals.[2]:226–228 His behavior became so troublesome during the Broadway run that he was replaced by Maurice Ellis, who had held the role of Macduff.[3]:101–102
Canada Lee played Banquo.[1]:86–88 Lee met Welles prior to his involvement with the production, at a performance of Stevedore. The audience had been whipped into a frenzied shouting match, and Lee rescued Welles from being attacked by another audience member wielding a knife.[31]
The role of Hecate, which Welles changed from the witch queen of the original to that of a male Voodoo priest, was played by Eric Burroughs, trained at London's Royal Academy of Dramatic Art.[7]:189The New York Times noted that Burroughs' concluding line, "The charm’s wound up!" at the fall of the closing curtain prompted a 15-minute frenzy of cheering throughout the 1200-seat Lafayette Theatre.[32]
Despite the fact that few professional African-American actors were available and many of the cast members had never acted in Shakespeare before, Welles believed that they showed a better understanding of the rhythm of the iambic pentameter than many professionals.[3]:102
Welles also hired African drummers and dancers, led by Sierra Leonean drummer and choreographer Asadata Dafora.[2]:223[33] Dancer Abdul Assen, a member of Dafora's Shogola Aloba dance troupe who is credited only as "Abdul" on the program,[11] was widely praised by reviewers in his role as the Witch Doctor.[34] Dafora and Assen's presentation of voodoo practices and musical accompaniment of the witches' speeches with drumbeats were popular with audiences, critics, and with Welles himself.[3]:108 The involvement of Assen, Dafora, and diasporic African musical and dance tradition added a powerful feeling of authenticity to the Haitian setting that became part of the folklore surrounding the production.[34]
Cast list
The cast and crew of Macbeth are credited in the original production notebook[11]:4–5 and in The Theatre of Orson Welles by Richard France.[12]:181–182
Court Ladies — Helen Carter, Carolyn Crosby, Eveyln Davis, Ethel Drayton, Helen Brown, Aurelia Lawson, Margaret Howard, Olive Wannamake, Evelyn Skipworth, Aslean Lynch[11]:4
Court Gentlemen — Herbert Glynn, Jose Miralda, Jimmy Wright, Otis Morse, Merritt Smith, Walter Brogsdale, Harry George Grant
Soldiers — Benny Tattnall, Herman Patton, Ernest Brown, Ivan Lewis, Richard Ming, George Spelvin, Albert Patrick, Chauncey Worrell, Albert McCoy, William Clayton Jr., Allen Williams, William Cumberbatch, Henry J. Williams, Amos Laing, Louis Gilbert, Theodore Howard, Leonardo Barros, Ollie Simmons, Ernest Brown, Merritt Smith, Harry George Grant, Herbert Glynn, Jimmy Wright, George Thomas, Clifford Davis, Frederick Gibson,[11]:5 Emanuel Middleton, Thomas Dixon[12]:182
Voodoo Women — Lena Halsey, Jean Cutler, Effie McDowell, Irene Ellington, Marguerite Perry, Essie Frierson, Ella Emanuel, Ethel Drayton, Evelyn Davis
Voodoo Men — Ernest Brown, Howard Taylor, Henry J. Williams, Louis Gilbert, William Clayton Jr., Albert McCoy, Merritt Smith, Richard Ming,[11]:5 Halle Howard[12]:182
Drummers — James Cabon, James Martha, Jay Daniel,[11]:5 Moses Myers, McLean Hughes[12]:182
Reception
Before the production opened, the HarlemCommunists tried to agitate the community against the project, wrongly believing that Welles had cast black actors in order to create a comic or burlesque version of Shakespeare. The theatre was picketed throughout rehearsals. One man attempted to slash Welles's face with a razor, but Canada Lee, a former boxer, stopped him.[3]:104
According to Welles, the anger was suddenly replaced "for no reason at all" by widespread excitement and pride in the community as the opening night approached.[3]:105 The "Voodoo Macbeth" defied all expectations, becoming a box office sensation. Seventh Avenue had to be closed for 10 blocks on either side of the theatre on opening night.[3]:107
Most reviewers, including those from The New York Times and the New York Daily News, loved the production, praising its energy and excitement. However, Carter was criticized for poor verse delivery, and for seeming more interested in displaying his physique than acting. One reviewer, Percy Hammond of the Herald Tribune, was negative about the entire cast, accusing the actors of being inaudible and timid. In response, one of the African drummers created a voodoo doll of Hammond, stuck pins in it, and encouraged Welles to take responsibility for any torments Hammond suffered as a result. Welles says he found this amusing, until Hammond died shortly afterward.[3]:109
The American Century Theater produced the play in 2013.[37]
Influence
In 2021, a biopic titled Voodoo Macbeth premiered at the Cleveland International Film Festival. Produced by the USC School of Cinematic Arts, it chronicles the creation of the original 1936 production, starring Inger Tudor as Rose McClendon and Jewell Wilson Bridges as Orson Welles.
In 2017, Bob Devin Jones directed a production of Voodoo Macbeth inspired by Welles's version, but different from it.[38]
Related Research Articles
Macbeth is a tragedy by William Shakespeare. It is thought to have been first performed in 1606. It dramatises the damaging physical and psychological effects of political ambition on those who seek power. Of all the plays that Shakespeare wrote during the reign of James I, Macbeth most clearly reflects his relationship with King James, patron of Shakespeare's acting company. It was first published in the Folio of 1623, possibly from a prompt book, and is Shakespeare's shortest tragedy.
John Houseman was a Romanian-born British-American actor and producer of theatre, film, and television. He became known for his highly publicized collaboration with director Orson Welles from their days in the Federal Theatre Project through to the production of Citizen Kane and his collaboration, as producer of The Blue Dahlia, with writer Raymond Chandler on the screenplay. He won the Academy Award for Best Supporting Actor for his portrayal of Professor Charles W. Kingsfield in the 1973 film The Paper Chase. He reprised the role of Kingsfield in the 1978 television series adaptation.
The Federal Theatre Project was a theatre program established during the Great Depression as part of the New Deal to fund live artistic performances and entertainment programs in the United States. It was one of five Federal Project Number One projects sponsored by the Works Progress Administration, created not as a cultural activity but as a relief measure to employ artists, writers, directors, and theater workers. National director Hallie Flanagan shaped the FTP into a federation of regional theaters that created relevant art, encouraged experimentation in new forms and techniques, and made it possible for millions of Americans to see live theatre for the first time. Although The Federal Theatre project consumed only 0.5% of the allocated budget from the WPA and was widely considered a commercial and critical success, the project became a source of heated political contention. Congress responded to the project's racial integration and accusations of Communist infiltration and cancelled its funding effective June 30, 1939. One month before the project's end, drama critic Brooks Atkinson summarized: "Although the Federal Theatre is far from perfect, it has kept an average of ten thousand people employed on work that has helped to lift the dead weight from the lives of millions of Americans. It has been the best friend the theatre as an institution has ever had in this country."
The Mercury Theatre was an independent repertory theatre company founded in New York City in 1937 by Orson Welles and producer John Houseman. The company produced theatrical presentations, radio programs and motion pictures. The Mercury also released promptbooks and phonographic recordings of four Shakespeare works for use in schools.
The Cradle Will Rock is a 1937 play in music by Marc Blitzstein. Originally a part of the Federal Theatre Project, it was directed by Orson Welles and produced by John Houseman. Set in Steeltown, U.S.A., the Brechtian allegory of corruption and corporate greed includes a panoply of social figures. It follows the efforts of Larry Foreman to unionize the town's workers and combat the powerful industrialist Mr. Mister, who controls the town's factory, press, church, and social organization. The piece is almost entirely sung-through, giving it many operatic qualities, although Blitzstein included popular song styles of the time.
Macbeth is a 1948 American historical drama directed by Orson Welles. A film adaptation of William Shakespeare's tragedy of the same name, it tells the story of the Scottish general who becomes the King of Scotland through treachery and murder. The film stars Welles in the lead role and Jeanette Nolan as Lady Macbeth.
Rose McClendon was a leading African-American Broadway actress of the 1920s. A founder of the Negro People's Theatre, she guided the creation of the Federal Theatre Project's African American theatre units nationwide and briefly co-directed the New York Negro Theater Unit.
Leonard Lionel Cornelius Canegata, known professionally as Canada Lee, was an American professional boxer and actor who pioneered roles for African Americans. After careers as a jockey, boxer and musician, he became an actor in the Federal Theatre Project, including the 1936 production of Macbeth adapted and directed by Orson Welles. Lee later starred in Welles's original Broadway production of Native Son (1941). A champion of civil rights in the 1930s and 1940s, Lee was blacklisted and died shortly before he was scheduled to appear before the House Un-American Activities Committee. He advanced the African-American tradition in theatre pioneered by such actors as Paul Robeson. Lee was the father of actor Carl Lee.
The Lafayette Theatre(1912–1951), known locally as "the House Beautiful", was one of the most famous theaters in Harlem. It was an entertainment venue located at 132nd Street and 7th Avenue in Harlem, New York. The structure was demolished in 2013.
Austin Dafora Horton, also known as Asadata Dafora, was a Sierra Leonean multidisciplinary musician. He was one of the first Africans to introduce African drumming music to the United States, beginning in the early 1930s. His artistic endeavours spanned multiple disciplines, but he is best remembered for his work in dance and music.
The Three Witches, also known as the Weird Sisters, Weyward Sisters or Wayward Sisters, are characters in William Shakespeare's play Macbeth. The witches eventually lead Macbeth to his demise, and they hold a striking resemblance to the three Fates of classical mythology. Their origin lies in Holinshed's Chronicles (1587), a history of England, Scotland and Ireland. Other possible sources, apart from Shakespeare, include British folklore, contemporary treatises on witchcraft as King James VI of Scotland's Daemonologie, the Witch of Endor from the Bible, the Norns of Norse mythology, and ancient classical myths of the Fates: the Greek Moirai and the Roman Parcae.
We Work Again is a 1937 ephemeral film produced by the Work Projects Administration to promote its employment and training efforts for African-Americans during the Great Depression. Various jobs are shown, including public construction projects, domestic service and health care training, adult education programs and performing arts. It is particularly noted for containing the only existing footage of the 1936 Federal Theatre Project production of Macbeth, directed by Orson Welles and featuring an all-black cast.
Jack Carter was an American actor. He is known for creating the role of Crown in the original Broadway production of Porgy (1927), and for starring in Orson Welles' stage productions, including Macbeth (1936) and Doctor Faustus (1937). He appeared in a few motion pictures in the 1930s and 1940s.
Dick Campbell, born Cornelius Coleridge Campbell, was a key figure in black theater during the Harlem Renaissance. While a successful performer in his own right, Campbell is best known as a tireless advocate for black actors in general. As a theater producer and director, he helped launch the careers of several black theater artists, including Ossie Davis, Frederick O'Neal, Loften Mitchell, Helen Martin, and Abram Hill.
Horse Eats Hat is a 1936 farce play co-written and directed by Orson Welles and presented under the auspices of the Federal Theatre Project. It was Welles's second WPA production, after his highly successful Voodoo Macbeth. The script, by Edwin Denby and Welles, was an adaptation of the classic French farce The Italian Straw Hat by Eugène Marin Labiche and Marc-Michel.
Eric Burroughs was an American stage and radio actor whose career spanned the 1930s to the early 1960s. He appeared in Orson Welles's all-Black Federal Theatre Project production of Macbeth. Burroughs was later lauded by radio giant Norman Corwin as being "the finest Negro actor in radio."
This is a comprehensive listing of the theatre work of Orson Welles.
There isn't one person, I suppose, in a million, who knows that I was ever in the theatre.
The Tragedy of Macbeth is a 2021 American historical thriller film written, directed and produced by Joel Coen, based on the play Macbeth by William Shakespeare. It is the first film directed by one of the Coen brothers without the other's involvement. The film stars Denzel Washington, Frances McDormand, Bertie Carvel, Alex Hassell, Corey Hawkins, Harry Melling, Kathryn Hunter, and Brendan Gleeson.
J. Augustus Smith, also known as Gus Smith, was an American actor, playwright, and screenwriter. In 1936 he was one of three theatre artists who succeeded John Houseman in leading the Negro Theatre Unit of the Federal Theatre Project in New York City.
Edna Lewis Thomas was an American stage actress whose career began in New York City during the Harlem Renaissance. She appeared on Broadway, with the Lafayette Players theater company, and in productions by the Federal Theater Project of the Works Progress Administration. Her portrayal of Lady Macbeth in Orson Welles' all-Black "Voodoo" Macbeth in 1936 was much acclaimed. She was an influential figure in Black theater, and was a member of the Alhambra Players and the Harlem Experimental Theatre. She only appeared on screen once, in the 1951 film A Streetcar Named Desire.
↑ Rippy, Marguerite H. (2009). Orson Welles and the unfinished RKO projects: a postmodern perspective. Carbondale: Southern Illinois University Press. ISBN9781441623423. OCLC459794779.
↑ "Nat Karson designs 1931–1949". Archives and Manuscripts, Billy Rose Theatre Division. New York Public Library. Retrieved 10 February 2015.
1 2 "WPA Players Set to Give 'Macbeth' with Tropical Locale to Give Color: Edna Thomas to Essay the Role of Lord's Lady--Known as Veteran PREMIER THURSDAY Jack Carter in Title Role--150 in Shakespeare's Immortal Tragedy". The New York Amsterdam News. 4 April 1936.
↑ "No title". Syracuse Herald. 27 August 1936. p.12. "Syracuse will be the last stop for the touring 'Macbeth' production … closing a 4,000 mile jaunt with a three-day run at the Civic University, opening Sept. 23."
↑ Quinn, Susan (2008). Quinn, Susan. Furious Improvisation: How the WPA and a Cast of Thousands Made High Art Out of Desperate Time. New York: Walker & Co.
↑ Smith, Wendy (January–February 1996). "The Play that Electrified Harlem". Civilization. reproduced online by the Library of Congress. Retrieved 6 March 2015.
1 2 Marguerite Rippy, "The Death of the Auteur: Orson Welles, Asadata Dafora, and the 1936 Macbeth" in Orson Welles in Focus, eds. James N. Gilmore and Sidney Gottlieb. IU Press, 2018, p. 16–17 ISBN9780253032966
↑ Sloan, Lenwood (2016). "The Vo-Du Macbeth!: Travels and Travails of a Chorco-Drama Inspired by the FTP Production". In Newstok, Scott L.; Thompson, Ayanna (eds.). Weyward Macbeth: Intersections of Race and Performance. New York: Springer. pp.101–112. ISBN9780230102163.
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