Macbeth’s tragedy is that he fools his conscience but cannot kill it for it is deeply, inextricably and poetically rooted in his unconscious. But these tragic qualities of his together with his crimes and punishments are integrated in such adroit dramatic and psychological ways that in spite of degenerating into a criminal he commands pity as a tragic hero. Macbeth in a sense is a criminal but he is also a tragic hero because Shakespeare endues him with qualities worthy of a tragic hero, because he has a moral weakness which impels him to criminal thoughts and criminal deeds which are his tragic acts, because his fortune undergoes a reversal, because he realizes his error and consequently suffers immensely and dies. It is as well an excellent crime story with an intricate pattern of crime and punishment. Shakespeare’s Macbeth is a highly complex and magnificent tragedy where nemesis descends upon the tragic hero in a true tragic manner.

The production appropriated Bollywood-inspired music. Iqbal Khan’s Much Ado About Nothing (RSC, Stratford-upon-Avon, August, 2012), for example, was set in contemporary Delhi and performed by a cast of second-generation Indian British actors.

In some instances, multicultural theater, whether made locally or imported as touring theater, can receive mixed reception due to audience’s investment in some form of cultural authenticity. Tommy’s production engaged in two models of nontraditional casting, namely conceptual casting, a model “in which actors of color are cast in roles to enhance the play’s social resonance,” and cross-cultural casting, an approach that translates the universe of the play to a different culture and location. In both cases, the ethnicity and race of the cast matched that of the characters and cultures in the adaptation’s respective universe.

The STC Macbeth’s setting and predominantly multiethnic cast brought to mind Orson Welles’s landmark 1936 Macbeth which was set in Haiti and featured an all-black cast.

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