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‘Voodoo Macbeth’ film has its premiere at USC

By RAY KELLY

The movie Voodoo Macbeth had its premiere at the University of Southern California on Saturday, February 8.

The screening and a Q&A with the small army of young writers and directors took place at the Eileen Norris Cinema Theatre in Los Angeles.

Voodoo Macbeth chronicles Orson Welles’ groundbreaking Harlem production of Macbeth with an all-black cast in 1936.

John Watson, who holds the Broccoli Endowed Chair for Producing at the USC School of Cinematic Arts, was project supervisor for the film. He has not only produced 12 feature films, including Robin Hood: Prince of Thieves, Backdraft and Blown Away, but served as executive producer of more than 300 hours of television.

“The  film was sponsored by Warner Bros via a charitable donation,” Watson told Wellesnet. “They haven’t yet seen the film. They will need to before any discussion can be held about its future and distribution.”

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Jewell Wilson Bridges, right, as Orson Welles and June Schreiner as Virginia Nicolson Welles in a scene from the movie Voodoo Macbeth.

Jewell Wilson Bridges stars as Welles with June Scheiner cast as his first wife, Virginia Nicolson Welles. Full cast and crew credits, as well as nearly three dozen production photos, can be found online at imdb.com/title/tt9748424. A supporting cast member posted a 10-minute behind-the-scenes look at his role in the production on YouTube.

From its 27-page pitch, “Voodoo Macbeth depicts the bizarre events and extraordinary characters behind the making of this theatrical sensation. The ambitious young directing genius struggles to control the inexperienced cast, fights off personal demons, battles through a troubled marriage, and fends off the attempts of a ruthless Congressman determined to shut down this ‘subversive’ production.”

At the age of 20, Welles adapted and directed the Federal Theatre Project production of Macbeth, which moved the Shakespearean play’s setting from Scotland to a Caribbean island. Before the play opened, Welles was criticized by those who feared he was creating a demeaning, burlesque production. After its opening, he was hailed for championing African-American theater.

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