MacB: The Macbeth Project Presented by The African-American Company at the Buriel Clay Theatre, San Francisco, California. September 19-October 5, 2008 and Willow High School, Crockett, California. March 9-March 20, 2009. Directed and adapted by Victoria Evans Erville. Lighting designed by Kevin Myrick. Set designed by Atom Gray. Costumes designed by Steven Lamont. Choreography by LaTonya Watts. Fights directed by Dave Maier. Music by Dogwood Speaks and Johnathan Williams. Teaching by Sherri Young. With David Moore (Macbeth), Melvina Jones (Lady Macbeth, Melody), Johnathan Williams (Banquo, Hipcat, Macduff), Maikiko James (Witch 1, Old Man, Ensemble), DC Allen (Witch 2, Porter, Ensemble), Toya Willock (Witch 3, Lenox, Ensemble), Clifton Jones (Duncan, Ross), Levertis Stallings (Fleance), and others. San Francisco's African-American Company recently finished staging its second hip-hop Macbeth. This time it's a Not too long ago, at the height of the culture wars, any combining hip-hop and seemed like the radical and inventive solution to increasingly turbulent racial politics and troubled divisions between high and low culture, but today we can find and hip hop conjoined in a host of pedagogical and performance practices. Stephen Greenblatt has enthusiastically endorsed Flocabulary's hip-hop curriculum, is Hip Hop, and Ian McKellen recently recorded a rap version of Sonnet 18 before joining Akala, a British rapper claiming to be Shakespeare reincarnated, to form East London's Hip Hop Company. The San Francisco Bay Area is no stranger to hip-hop Shakespeare. In 2006, we saw Jonathan Moscone and the California Theater performing Naomi Iizuka's hip-hop remix of Hamlet, Blood in the Brain, at San Francisco's Intersection for the Arts. In 2007, we saw Ayodele Wordslanger Nzinga direct West Oakland's Lower-Bottom Playaz in her localized and poetic hip-hop adaptation of Macbeth, Mack, A Gangsta's Tale. It's no surprise, then, that this year the Bay Area, home of everything Mac, from Oakland's The Mack (1973) to Vallejo's Mac Dre, hosted a play calling itself MacB. The Macbeth Project. What did the African-American Company add to the mix with their Macbeth Project? We might begin by looking at what made the AASC's Macbeth a project. The word project evokes corporate and artistic collaboration at the same time that it conjures the specter of public housing. As an action, project is doubly verbal, containing both language and movement; to is to utter in the linguistic or theatrical sense, but it also includes the spatial emanation which results from such utterances. A can be simultaneously an eidos, its logos, and its telos. The AASC's performs all of the above. The Macbeth Project is an ensemble of sites and institutions, players and pupils, actions and ideas. Partially funded by an NEA grant as part of the latter's Shakespeare for a New Generation initiative, the Macbeth Project conjoins performance and pedagogy as its teaching artists engage at-risk Bay Area youth in theatre games through their Shake-It-Up program (The NEA's Shakespeare for a New Generation program is part of the larger Shakespeare in American Communities initiative, both of which are partially supplemented by funding from the US Department of Defense and the Department of Justice's Office of Justice and Juvenile Delinquency Prevention). The Macbeth Project involves schools in San Francisco, Oakland, Richmond, and Crockett. As a series of nodes in a larger network of projects, the Macbeth Project operates, in part, as the local and mobile expression of a national arts pedagogy as it projects itself through local voices and bodies. I attended a performance of MacB towards the end of its run in San Francisco. Before taking my seat in the Buriel Clay Theater, I decided to get a closer look at Atom Gray's set. …