“I saw a terrific white play last night”: Integrated Casting in Iqbal Khan’s Othello and Keith Hamilton Cobb’s American Moor

Abstract

This thesis delves into the dynamics of integrated casting in contemporary Shakespearean theater as a means to challenge and confront entrenched systems of white supremacy. Focusing on two seminal productions—Iqbal Khan's Othello with the Royal Shakespeare Company and Keith Hamilton Cobb's American Moor—this study scrutinizes how non-traditional casting, herein termed "integrated casting," disrupts traditional racial hierarchies within the theater industry. Through a critical lens, the thesis examines the implications of casting decisions, particularly the portrayal of traditionally white characters by Black actors, and the subsequent reconfiguration of racial dynamics on stage. Central to the analysis is the deconstruction of the "white gaze" and the exposure of its role in perpetuating racial biases and power structures. By foregrounding the experiences of Black actors and interrogating the motivations behind casting choices, this study elucidates the complex interplay between race, power, and performance in contemporary Shakespearean productions. Furthermore, it sheds light on the enduring influence of colonial legacies and the ways in which integrated casting serves as a catalyst for reimagining Shakespearean narratives within the context of racial equity and social justice. Ultimately, this research seeks to provoke thought among white audiences, challenging them to confront their own racialized identities and reckon with the pervasive impact of white privilege in the theater landscape.