On July 25, 1936, after a five-night run, the audience at the Park Theatre in Bridgeport, Connecticut, applauded the closing night performance of Macbeth, produced by John Houseman and directed by Orson Welles for the Federal Theatre Project (FTP) of the Works Progress Administration (WPA).
The FTP was one of five arts-related projects established during the first term of President Franklin D. Roosevelt to assist unemployed writers, actors, and artists during the Great Depression.

Welles, just twenty-one years old at the time, began his theatrical career directing Shakespeare’s Macbeth and Christopher Marlowe’s Tragical History of Dr. Faustus for the Federal Theatre Project.
Welles’ designs for the plays were characterized by the creative risk-taking that exemplified his dramatic work. His use of racially integrated casting and “alternative” settings for these masterpieces was an innovation.
The guy was 21 years old. And he hadn’t yet done Citizen Kane.
Critics hailed the results as “startling,” “splendid,” and “colorful.” After a series of sold-out performances in Harlem, Welles’ “Voodoo MacBeth” took to the road, traveling to several cities on the East Coast.

— Just celebrating both the freedom and the capitalism of a country where, every now and then, people have gotten a break; a chance to show what they can do. And no, the government funding isn’t the point: if you think it is, you’re missing the point.













