Before he was known as arguably the greatest filmmaker of his generation, Orson Welles was a young, rambunctious stage actor and director who frequently pushed boundaries, even when working within the confines of something as intimidating as Shakespeare. One of his most fascinating projects was a 1936 production of Macbeth, whereby he moved the setting from Medieval Scotland to Haiti in the 19th century, as part of a concerted effort by actress Rose Rose McClendon and Welles’ regular collaborator and friend John Houseman, to bring the classics to Harlem. This production was notable for the fact that it consisted of an entirely black cast, something that was almost unheard of when it comes to Shakespeare’s works being produced for the stage in the USA – and for this reason alone, the show popularly referred to as “Voodoo Macbeth” has become one of the most fascinating footnotes in the storied career of a director who was always ahead of his contemporaries. The story has become the subject of this film, appropriately titled Voodoo Macbeth, in which the journey to get this show produced becomes the foundation for one of the most daring and provocative stage-based dramas of recent years. Whether it be Welles’ own burgeoning ambitions (which cleverly reference his future as a filmmaker), or the conflicts that arise between the director and his collaborators, particularly the steadfast McClendon, Voodoo Macbeth is a truly extraordinary film, a small-scale showbusiness odyssey with as much as audacity as it has heart, leading to an unexpectedly brilliant piece of biographical storytelling that is filled to the brim with surprises.

The collaborative nature of the stage production at the heart of Voodoo Macbeth holds even more credence when we realize how this is a film that came about as a result of community efforts. The film was written in collaboration with eight different screenwriters, and directed by a staggering ten people, a bewildering but fascinating piece of information that proves how vital the process of collaboration is when it comes to mounting any production. Art imitates life, and while Welles normally receives endless acclaim for his status as something of a wunderkind who was both a genius and jack-of-all-trades (neither necessarily untrue), the film draws attention to one of his more community-based projects, and the people who were as essential to the production of this stage adaptation as he was. Voodoo Macbeth makes many interesting choices, and despite the vast number of people who took the helm, it never feels disjointed, remaining as cohesive and united under a singular artistic vision as the material that inspired it. There’s something so revolutionary about having a story such as this filtered through so many perspectives – it enriches the meaning behind the work, and adds nuance to what is an otherwise very conventional story. Whatever methods were taken to ensure consistency persisted throughout the film clearly worked wonderfully, since Voodoo Macbeth is a peculiar and off-kilter drama which makes some daring statements while remaining quite brilliant in how it addresses the subject matter, which could only have been done through meaningful collaboration between artists – and each one of the ten directors brought their own distinct perspective to the proceedings, which strengthens this argument and makes it even more poignant.

The legacy of Orson Welles has consistently been shifting since he was at his peak – he had such a long career, filled with peaks and valleys, it’s impossible to pin him down to a single definitive moment. Voodoo Macbeth is one of the many works that attempt to look at the esteemed artist in the days before he achieved worldwide acclaim for directing the popular choice for the greatest film ever made. His story is one that lends itself to the format of a biographical drama – an ambitious and gifted young actor and director who had enough raw talent to mount entire productions all on his own audacious vision, his rise to fame being inevitable based on his skilful approach to his artistry. However, unlike certain recent projects that seek to disparage Welles and portray him as some egocentric megalomaniac who exploits his collaborators, who he supposedly viewed as subordinates regardless of their skills, this film is quite respectful of the director, even when a great deal of the plot is built on some of his most significant shortcomings. Ultimately, as much of a genius as he was, Welles was a young and inexperienced director at the period in which this production as mounted (his hesitation to take the helm is one of the early centres of conflict in the film), and a lot of what this film explores is his journey to reconcile his own raw ambitions with the communal intentions of the actors he has been tasked with directing in this show. There’s a perpetual tug-of-war between Welles and McClendon, who is shown to be just as important an authorial voice as the esteemed director, but even at its most tense, it is never denigrating to any player in this story, being a robust and thrilling exercise in exploring artistic collaborations.

Voodoo Macbeth is a film built on the idea of working together to achieve a specific goal, and the tensions that arise when the destination may be the same, but every individual with creative power has a different idea of what the journey should look like. This is a potent ode to those who are driven to create, particularly in ways that defy expectations and push boundaries – the all-black production of Macbeth set in the Caribbean is enough of an interesting story on its own to warrant an intricate study of its development, so the fact that someone of as intimidating a stature as Welles resides at the heart of the narrative only makes it more interesting, since it presents us with a new side of an artist who defined a particular era in cinema. This is a work of true copacetic passion – everyone involved in the production was driven to tell this story through their own incredible interest in the production. Considering the multicultural composition of the directorial and writing teams that served at the helm of the film, and the very committed cast drawn from several different backgrounds, it only made sense that Voodoo Macbeth would be something worthwhile. There aren’t too many recognizable names involved here, with this film being the first high-profile project for many of the people on both sides of the camera, but if there was a project that serves as an actor or director’s first introduction to wider audiences, this film is certainly a worthy candidate. The performances are strong enough to propel the film, and the story services the actors to the point where we can easily lose ourselves in their performances, the perfect balance between quintessentially human and deeply theatrical being struck consistently throughout.

The precise qualities that make Voodoo Macbeth so special is malleable enough to be left to the viewer’s own interpretation. This is a very direct and unfurnished account of the challenges faced when putting together one of the most daring Shakespearean productions of the 20th century, as well as an enthralling demonstration of the triumphs that came about as a result of the dedication of a wide group of individuals. The film weaves together so many additional themes – race relations is obviously the central motif, but discussions on identity (particularly homosexuality and interracial relationships) are conducted throughout, albeit in a way that is meaningful and constructive, rather than just shoehorned into the narrative for the same of casting a wider net over the social and cultural milieu. There are many layers to the film, but it never seems as if it is trying to take on more than it can handle – ultimately, Voodoo Macbeth is an independent film in every sense of the word, especially in how it features a revolutionary spirit, which is oddly appropriate considering the subject matter of the story. It isn’t a boundary-breaking film, nor is it one that necessarily traverses unknown territory – but purely based on the careful execution, clear artistic integrity in how it handles several very challenging themes, and the dedication to replicating this particular moment in theatre history, we can easily celebrate Voodoo Macbeth as a true gem, and a film that warrants attention as an undeniably fascinating curio of biographical storytelling.