Macbeth by William Shakespeare
in a modern verse translation by Migdalia Cruz

Directed by L. Peter Callender

An evil prophecy to be king drives Macbeth and his wife to make the vision a reality. A tortuous series of events escalates into one of the most notorious good man driven bad stories. This Macbeth is a modern translated version created by Migdalia Cruz.

#MacbethAASC

Commissioned by Oregon Shakespeare Festival
as part of Play on! 36 playwrights translate Shakespeare
Funded by a generous grant from the Hitz Foundation

“Director L. Peter Callender’s vision for this classic story of ambition and betrayal is thrillingly modern and dystopian. He has assembled an impressive cast to work within the effective and efficiently crafted environment […] Exciting and inventive, Callender and company are to be congratulated for bringing this classic play to modern resonance.”
—Robert Sokol, San Francisco Examiner

“This month, with fierce care and bravery, the company directs the spotlight to San Francisco’s homeless population. The company and production both offer much to think about and learn from. Do not miss this production of ‘Macbeth.’”
—Daryanna Lancet, The Daily Californian

“Through this prism, this lens through which Callender sees this play, he succeeds.”
—Gaetana Caldwell-Smith, For All Events

Director’s Note

In her poem, I MUST BECOME A MENACE TO MY ENEMIES, June Jordan writes:

“I will no longer lightly walk behind
a one of you who fear me:
Be afraid.
I plan to give you reasons for your jumpy fits
and facial tics
I will not walk politely on the pavements anymore
and this is dedicated in particular
to those who hear my footsteps
or the insubstantial rattling of my grocery
cart
then turn around
see me
and hurry on
away from this impressive terror I must be…”

I am inspired, by this work, to create an evening of theater with nine talented, creative, brave, dedicated artists performing Migdalia Cruz’s lyrical, poetic reworking of Shakespeare’s MACBETH. I have always been interested in what would happen if a group of people, exiled by society, led by an ambitious, decorated American veteran who has become weary of the status quo—being denied, unwanted, ignored, unloved, who dreams of having the power to change his situation—becomes a menace, thereby lifting his comrades from despair. No longer will they “walk politely on the pavements.” What happens if that dream becomes real, the “impressive terror” emerges, and that reality destroys more that it fulfills? I am a citizen struggling with the crisis in our neighborhoods and cities, but even more present, I am an artist who, each time I drop a coin or a bill or a scrap of food in the hands or tin can of a homeless soul; or offer up a smile or just acknowledge another human being, my heart whispers: “There but for the grace of God go I.” This is real and terrifying! Our production is dedicated to those souls: the “Poor naked wretches, whosoe’er you are, that bide the pelting of this pitiless storm.” (KING LEAR). We see you. We hear you. We care! It is our petty pace of sustainable action, more than your misfortune.

— L. Peter Callender

Cast

Macbeth — Adrian Roberts*

Adrian Roberts is thrilled to be working with African-American Shakespeare Company. Bay Area credits include most recently Chaucer Mosely in Urban Retreat at the Lorraine Hansberry Theatre, Evan in Sweat at American Conservatory Theatre, Steve Daniels in A Lesson From Aloes at Z Space. Other Bay Area credits include Willy in Master Harold and The Boys at the Aurora, Gabriel in Breakfast With Mugabe at the Aurora, Gabriel and Troy Maxon in Fences at Marin Theatre Company, Claudius in Hamlet at California Shakespeare Theatre, King Basillio in Life is a Dream at California Shakespeare Theatre, Charles Boyd in Pen/Man/Ship at the Magic Theatre. Regional credits include Ken in Playboy of the West Indies at Lincoln Center, Booster in Jitney at American Stage, three seasons at The Oregon Shakespeare Festival among many others. Television credits include Scrubs, Criminal Minds, Brothers & Sisters, Chance, sci-fi television movie Vampires Out For Blood, and the film short Always Faithful. Adrian Roberts is a graduate of American Conservatory Theater MFA program.

Malcolm+ — Jamey Williams

Jamey Williams is a multi-disciplinary artist and entertainer currently pursuing his Bachelor’s degree at California State University East Bay. Over the past few years, Jamey has been gaining international recognition as a spoken word poet and battle rapper. In 2018, he was featured in an anti-tobacco commercial which premiered at the Grammys. He most recently performed as Setty in The Urban Retreat directed by Darryl V. Jones.

Macduff+ — Lijesh Krishnan

Lijesh Krishnan is excited to perform in his first show with the African-American Shakespeare Company. He grew up in Kuwait and his native India before spending a decade in the Twin Cities. In the Bay Area, he has acted with several companies including Aluminous, Altarena, Actors Ensemble of Berkeley, Curtain Theater, Ninjaz of Drama, Theater of Others and Those Women Productions. His recent Shakespeare credits include Hotspur, Hamlet, Edgar, Beatrice, Lysander, Iachimo and Antipholus of Ephesus. Other roles include Pride and Prejudice (Darcy), Vanya and Sonia and Masha and Spike (Spike), Last Days of Judas Iscariot (Jesus), The Understudies (Evadne) and Killer Joe (Joe). He will next be performing in A Midsummer Night’s Dream at Marin Shakespeare.

Lady Macduff+ — Mohana Rajagopal

Mohana Rajagopal is an actor from the Bay Area and is thrilled to be making her African-American Shakespeare Company debut. Her previous credits include Catherine Stockmann in An Enemy Of The People (Pear Theatre), Bacchante in The Bacchae of Euripides (American Conservatory Theater), young woman in The Parting (Enacte Arts), Bianca in Othello (Inferno Theatre), Admeta in Daughters Of Ocean (Utopia Theatre Project), Susan Shields in Raptured (Hit and Run Productions) and Hassan’s mom in the short film The Statue (Cinemama films). Mohana has been taking acting lessons from American Conservatory Theater (Summer Training Congress and Studio A.C.T.) and Berkeley Repertory Theatre. She holds a Masters degree and Ph.D. in Healthcare Logistics and worked as a Research Scientist before starting a career in acting.

Woman+ — Funmi Lola

Funmi Lola is a (karaoke) singer, CPA, and actress from Nigeria by way of Jamaica and Arkansas; who is extremely thrilled to be working on the Scottish play with the African-American Shakespeare Company! Though she has some formal training in theater from the University of Arkansas, the bulk of her education has been in accounting, but her heart has never left the stage. She’s performed as Amelia in the House of Bernarda Alba, Colombine in A Company of Wayward Saints, and has been featured in a couple of short films in the Bay Area. Though she loves her day job, she is currently working on making acting a bigger part of her life.

Lady Macbeth+ — Leontyne Mbele-Mbong*

Leontyne Mbele-Mbong was last seen on African-American Shakespeare Company’s stage in Richard III. Previous AASC roles: Ruth in A Raisin in the Sun, Mistress Ford in Merry Wives of Windsor, Beatrice in Much Ado About Nothing, the title role in Medea (Theatre Bay Area Award: Female Actor in a Principal Role), and Cleopatra in Antony & Cleopatra (Theatre Bay Area Award Finalist). Other favorite Bay Area roles: Guthrie Theater/Berkeley Rep: Watch on the Rhine (Anise); Aurora Theatre Company: Breakfast With Mugabe (Grace Mugabe); Shotgun Players: Top Girls (Pope Joan/Nell); Aluminous Collective: The Last Days of Judas Iscariot (Fabiana Cunningham); Altarena Playhouse: Fences (Rose); Central Works: Andromache (Andromache); Lamplighters Music Theatre: Candide (Paquette); Woman’s Will: Richard III (Buckingham), Twelfth Night (Orsino), Macbeth (Lady M, and others); TheatreFIRST: World Music; Solano College: Intimate Apparel (Mayme; ARTY Award, best supporting actress). www.leontynembele-mbong.com

Banquo+ — Champagne Hughes

Champagne Hughes is an East Bay Actor, Professional DJ, Leading Arts Administrator and Event Producer. She’s worked in management roles for over a decade with companies such as American Conservatory Theater, The Flight Deck, Berkeley Repertory Theater, and Beach Blanket Babylon. Previous on stage credits include Clybourne Park at Altarena Theater; Romeo and Juliet, Lower Depths, Holy Ghost, A Streetcar Named Desire, and This Land Was Made at Ubuntu Theater; It’s All In the Mix at All Terrain Theater; and Othello, Good Night Desdemona, Good Morning Juliet, The Colored Museum, Imperialism: The Musical and Lysistrata at San Jose State, where she was awarded Best Actress at Campus Movie fest in the short film Rent. www.djchampagne.com

Ross+ — Oluchi Nwokocha

Oluchi Nwokocha is ecstatic to be reunited with Peter and making her African-American Shakespeare Company debut! Oluchi was last seen in We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as South West Africa, From the German Sudewestafrika, Between the Years 1884-1915 at San Jose Stage. Previous credits: Clybourne Park (Hippodrome Theatre), By the Way Meet Vera Stark (University of Florida). Oluchi is a proud member of Red Ladder Theatre Company where she currently works in prisons, teaching improv to participants. Thanks KP! Oluchi holds an MFA in Acting from the University of Florida.

Seyton+ — Sumi Narendran

Sumi Narendran feels blessed to be performing in her first production with the African-American Shakespeare Company. Some of her favorite Shakespeare roles in the past include Jaques in As You Like It, one of the three Witches in College of Marin’s production of Macbeth, Regan in King Lear, Titania in A Midsummer Nights Dream, and as the brothel-owning Widow in Jim Dunn’s final performance of his Western version of Taming of the Shrew. She has been nominated for San Francisco Bay Area Theatre Critics Circle awards for Ana in Clean House and Casandra in Vanya and Sonia and Masha and Spike. When she isn’t on stage she can be found fuzzling any and every dog she can find on the street.

Production Team

Director — L. Peter Callender

L. Peter Callender is the Artistic Director of African-American Shakespeare Company, Bay Area veteran actor, director, teacher, mentor, father, and proud member of Actors Equity Association. He’s been a visiting professor at Stanford University (Acting Shakespeare and Fundamentals of Directing), and conducted classes at Waterfront Conservatory Playhouse, UCEB and Emory University in Atlanta. His recent directing credits include: Safe House at Aurora Theater Company; We are Proud to Present… at San Jose Stage; Joe Turner’s Come and Gone, Jitney, A Raisin in the Sun, and Pipeline at American Stage Company (St. Petersburg, FL); and A Raisin in the Sun, Cat on a Hot Tin Roof, Much Ado About Nothing, Jitney, The Winter’s Tale, A Streetcar Named Desire, and Black Eagles at African-American Shakespeare Company. A few acting credits: Master Harold…and the Boys (Sam, Aurora Theatre Company), Swimmers (Walter, Marin Theater Company), Whipping Man (Simon, Marin Theater Company), Breakfast with Mugabe (Mugabe, Aurora Theater Company), Proof (Robert, TheatreWorks) and 20 years of great theater at California Shakespeare Theatre! www.lpetercallender.com

Stage Manager — Elspeth Sweatman

Elspeth Sweatman is a dramaturg who currently works as American Conservatory Theater’s publications associate. She is a graduate of the University of Denver and has a master’s in playwriting and dramaturgy from the University of Glasgow. Her previous stage management experience includes 4,000 Miles (Cadence Theatre Company) and Orlando (A.C.T. Fellows Project). This is her first project with African-American Shakespeare Company.

Lighting Designer — Kevin Myrick

This is Kevin Myrick’s 17th season working with the African-American Shakespeare Company as the company’s resident Technical Director and Lighting Designer, sometimes switching to sets, sound, or projections. He studied technical theatre at San Francisco State University, and later earned degrees and worked in Computer Science and Technology. Since 1974 Kevin has worked as a designer, technical director or theatre tech for many artists and arts organizations including civic organizations like the San Francisco Arts Commission, the San Francisco Neighborhood Arts Program, and the Atlanta Bureau of Cultural Affairs; theatre companies like San Francisco’s Lorraine Hansberry Theatre Company, AfroSolo, Cultural Odyssey, Oakland Ensemble Theatre Company, Atlanta Children’s Theatre Company, Alliance Theatre Company, Just Us Theatre Company; and dance companies like the Wajumbe Cultural Ensemble, Dimensions Dance Theatre Company, and the Village Dancers. Kevin has also produced and designed for local cable television in metro Atlanta and San Francisco.

Fight Choreographer — Durand Garcia

Durand Garcia (MA, MBA, SAG/AFTRA) is a newly minted film producer and content creator (MBA, St. John Paul the Great Catholic University). He is the co-founder of Luminarias Theatre Company, which was twice invited to perform at Center for the Arts Yerba Buena Gardens. He has directed and/or produced for St. John’s University, Luminarias, Dominican University, and African-American Shakespeare Company among others. He began working as the resident Fight Choreographer for African-American Shakespeare Company in 1998. His articles regarding Stage Fighting safety have appeared in CineSource magazine, Theatre Bay Area magazine and the Society of American Fight Director’s The Cutting Edge. He has worked on over one hundred and sixty stage fight projects either for theatre or film. Luminarias Entertainment and Media Group is his independent film and television company. He is grateful and enthusiastic to be working on AASC’s Macbeth.

Assistant Director — ShawnJ West

ShawnJ West is thrilled to return to African-American Shakespeare Company (AASC) as Assistant Director to Sir L. Peter. He’s directed productions of The Playwrights’ Center of San Francisco’s 2017 and 2018 playoffs/showcase, Nunsense, The Seven Year Itch, WELL, and Sex In Seattle and AASC’s 2015 production of Cinderella. Spring 2020 he directs the West Coast premiere of Donja R. Love’s Sugar in Our Wounds at New Conservatory Theatre Company. Onstage, AASC’s A Midsummer Night’s Dream (Bottom), August Wilson’s Jitney (Turnbo), The Winter’s Tale (Polixenes), Much Ado About Nothing (Dogberry), and Cat on a Hot Tin Roof (Gooper). Favorite roles include Sterling North, Permanent Collection Piedmont Center for the Arts; Lady Percy, The Free Theatre’s Henry IV, Part I; George, Of Mice and Men with Role Players Ensemble Theatre; Buckingham, Richard III and Pandarus Troilus and Cressida with Impact Theatre; Belize, Angels in America; Perestroika, Gidger in The Violet Hour; Raul in Extremities; and Robert in The Exonerated. ShawnJ says, “Here’s to the journey!!!”

Production Manager — Leontyne Mbele-Mbong

Leontyne Mbele-Mbong is in her third season with the African-American Shakespeare Company as Production Manager. She is the founder of CogentOAK, a virtual admin business that provides administrative assistance. Prior to starting her own business, Leontyne worked for 10 years at an engineering consultant firm, working her way from temporary receptionist to business development coordinator. The customer service skills she learned in her first job as travel agent fresh out of college, she now puts to use at the American Conservatory Theater box office, and at various theaters across the city where she can be seen working front of house. The over-arching theme of this patchwork is assisting people with just what they need to do what they desire hassle-free—be it seeing a show or working on the aspect of the budding business they love. She even creates websites! Check hers out at www.cogentoak.com.

Sound Designer — Jeff Mockus

Jeff Mockus makes his African-American Shakespeare Company debut with Macbeth, but is no stranger to Bay Area theatre: TheatreWorks Silicon Valley’s Tuck Everlasting, The Bridges of Madison County, Big River, The Four Immigrants, Native Gardens, and Tokyo Fish Story, CenterREP’s Mamma Mia, Freaky Friday, and A Christmas Carol, American Conservatory Theater’s Clybourne Park, The Rainmaker, and War Music, Berkeley Rep’s Mennocchio, Asian American Theatre’s Day Standing on it’s Head, Santa Cruz Shakespeare’s As You Like It and The Merry Wives of Windsor, and Cal Shakes’ Miss Warren’s Profession, Private Lives, Pericles, and The Triumph of Love. In residence at San Jose Rep, Jeff designed over 70 productions, including Legacy of Light, The Haunting Of Winchester, Mary’s Wedding (Dean Goodman Award), Old Wicked Songs (BATCC award), Thunder Knocking On The Door, and The Elephant Man. He has taught classes and mentored students at PCPA, UC Santa Cruz, UC Berkeley, SJSU, and Hartnell College.

Costume Designer — Keri Fitch

Keri Fitch has designed for many Bay Area theaters over the years including Berkeley Repertory Theater, San Francisco Shakespeare Festival, Golden Thread Productions, Center Rep, and New Conservatory Theater Center. She has been privileged the past 10 years to work on a diverse selection of plays at New Conservatory Theater Center including Take Me Out, Greater Tuna, Other Desert Cities, Mothers and Sons and most recently Casa Valentina and Leaving The Blues. She is delighted for this opportunity to work again with L. Peter Callender. When not working as a freelance designer Keri makes her home in Boise, Idaho where she is currently the interim Costume Director for Ballet Idaho and on the staff of the Idaho Shakespeare Festival and Boise State University.

Set Dresser + Props — Samira Mariama

Samira Mariama is a Bay Area Actress, Director, and Teaching Artist. She is a Philadelphia native and has resided in the Bay Area for most of her life. She holds a B.A. in Anthropology and Theatre from U.C. Berkeley, receiving the Mask & Dagger Award for extraordinary contributions to theatre. She also holds a Certificate in Acting from A.C.T.’s Summer Training Congress. Her most recent acting work includes a four-character role in Jerry Levintin’s I’d Kill for a Parking Place, a local tour of Lisa B. Productions’ Clown in the Prayer Closet, and a staged reading at Cutting Ball Theater of Aurin Squire’s Zoohouse. Her recent directing work includes Thornton Wilder’s Our Town (A.D.) at Marin Academy, and James Ijames’ White (A.D.) at Shotgun Players. She is thrilled to work with African-American Shakespeare Company and, as always, is grateful for God and her mother.

Music — Alexander Jones

Alexander Jones is a 2015 Juilliard Graduate. He has danced and acted professionally as well as collaborated as a composer with some of the world’s top Choreographers. He currently works for San Francisco Unified School District leading initiatives focused on Creativity, the Arts, and Innovation for students of color.

*Appearing through an Agreement between this theatre, African-American Shakespeare Company, and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.