Theatre and Performance 2009
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Scott L. Newstok is Assistant Professor of English at Rhodes College, where he organized the 2008 symposium on Macbeth and African-American culture. He has edited Kenneth Burke on Shakespeare (2007), and has published a study of the rhetoric of English epitaphs, Quoting Death in Early Modern England (Palgrave, 2009). Ayanna Thompson is Associate Professor of English, and an affiliate faculty in Women & Gender Studies and Film & Media Studies at Arizona State University. She is author of Performing Race and Torture on the Early Modern Stage (2008), and the editor of Colorblind Shakespeare: New Perspectives on Race and Performance (2006) and two forthcoming special issues of Shakespeare Bulletin and Borrowers and Lenders. Her new book project on Shakespeare and race is forthcoming from Oxford.
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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