Never meant to be a child actor

This play is everywhere, and neck-in-neck with Romeo and Juliet, I would say has the most recognizable lines out of all of Shakespeare's work in modern American (and British?) culture. "Courage to make love known," "Out damned spot," etc.
I first "read" this play in the fifth grade. Everyone in my grade, consisting of three classes, was assigned to take a role in the scottish play. I was a quiet, secretly sarcastic, shy kid, so when it came to "audition" for the parts, they gave me the role of Malcolm. The teachers in the school had edited the play and number of lines to make it easier to be performed by a group of ten year olds, and I believe I had two lines. Being a girl, the only female roles were Lady Macbeth and the three weird sisters, which I was not qualified for because I didn't speak (the gift of gab emerged later in life for me). I had to play a boy, but I was crowned in the end, so I accepted the role and perhaps it aided in boosting my over-inflated ego today. I remember wanting to be one of the "witches" because they had cool lines and used dry ice, remember, age ten. Yet, even today, if I ever had the courage to act, I would either want to be one of the weird sisters (it's still about dry ice) or Lady Macbeth. I would assume that method acting for that part would be a little difficult on one's social life, and maybe even end in Ledger-Joker fashion, but her progressive breakdown of strength and sanity is compelling.
The best part about the play, in my opinion, is the psychology of it. Shakespeare involves complex interiority of characters, that do not fall flat as basic archetypes, but involve multi-faceted people that the reader can envision, and the audience of the play can believe. It's interesting to see Post Traumatic Stress Disorder in the seventeenth century with Lady Macbeth, and perhaps even Schizophrenia with Macbeth when he experiences stress/trauma related halucinations. I think we generally assume that this sort of character development did not exist until the last hundred years or so, but we are terribly mistaken in that assunption because Shakespeare truly understands the mind and an audience's desire for the subline (pleasurable fear). Kudos.