A Post-Apocalyptic Macbeth: Teatro LA TEA’s Macbeth 2029

Abstract

Macbeth and multicultural repertory intersected in our recent adaptation, Macbeth 2029 (2008). Drawing upon the rich multi-ethnic traditions of New York City, Teatro LA TEA seeks to produce Shakespearean productions that provide access to Latinos and others traditionally excluded from the enriching experience of the performing arts—artists and audiences alike. Producing Shakespeare presents us with the challenge of mastering the highest standard in theatre arts, what I consider a kind of performative “measure of achievement” for theatre professionals. Yet at the same time, we find ourselves producing plays first created in an Elizabethan world in which people of color rarely existed. Not surprisingly, Shakespearean productions have historically been closed to dramaturges, directors, production designers, and, most notably, actors of color. This was my immediate reality after my graduation from Skidmore College in 1993. Like most kids still green from undergraduate optimism, I was ready to change the world with my training as an actor. Yet I found myself frustrated, at times even angry, with an industry that had very little room for me in it.