African-American Theater Book Review

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By Wendy Smith (Reproduced by permission from the January-February 1996 issue of Civilization magazine) For days, Harlem residents strolling anywhere between Lexington Avenue and Broadway from 125th to 140th Streets had seen the word "MACBETH" stenciled in glowing paint at every corner. New York's African-American community had been discussing the new production by the Federal Theater Project's Negro Unit with mingled pride and anxiety for months, and by opening night on April 14, 1936, anticipation had reached a fever pitch. At 6:30 p.m., 10,000 people stood as close as they could come to the Lafayette Theatre on Seventh Avenue near 131st Street, jamming the avenue for 10 blocks and halting northbound traffic for more than an hour. Spotlights swept the crowd as mounted policemen strove to keep the entrance to the theater open for the arriving ticket holders, an integrated group of "Harlemites in ermine, orchids and gardenias, Broadwayites in mufti," as the New York World-Telegram noted the next day. Every one of the Lafayette's 1,223 seats was taken; scalpers were…show more content…
Garry Wills argues in Witches and Jesuits, his provocative book on Macbeth, that most psychologically oriented modern productions have failed to provide the coherent spiritual framework essential to making Macbeth's downfall understandable; Welles seemed instinctively to grasp that voodoo would substitute nicely for the Elizabethans' belief in witches as servants of the devil. The total effect was of a violent universe ruled by evil. Rewritten by Welles, the ending no longer suggested reconciliation and rebirth; instead, Malcolm seemed likely to be the witches' next victim. Though Welle's interpretation was not overtly political, this nightmare vision had obvious resonance in a world menaced by fascism and the threat of world

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