Minstrel Performances and Shakespeare

FRANCESCA ROYSTER: On the one hand, we can look at minstrel shows that used Shakespearean themes and that used constructions of blackness and traditions of performing a kind of fetishized aspect of blackness on the American stage. So, among the artifacts that the Folger has are minstrel shows like Desdemonum and, let me see, Othello's Travesty—there are a couple of other ones that use Othello as a springboard for talking about American race relations. So we see that direct influence there.

On the other hand, as we look at the performance styles that were dominant in the mid- and late nineteenth century, we see definitely in terms of gesture and in terms of melodrama, some shared aesthetics between minstrel performance and Shakespearean performance. And then as the African American actors who were able to break through became more important, Ira Aldridge in particular, we see how his performances were constantly being compared to the burnt-cork performers of the minstrel shows and that there was a kind of thrill in seeing a black actor playing a role that had been reserved for white actors in blackface. And definitely not only was Aldridge's delivery compared to the delivery of minstrel show actors—his voice, his gestures—but also his ability to kind of move back and forth fluidly between scripts of Shakespeare and minstrel songs. So often when Ira Aldridge performed, he would perform a Shakespeare play and then either open or close with songs that were popular in minstrel shows. So, again, even in the occasions of the performances, there was a kind of flow between minstrel performance and Shakespearean performance.

Our predominant vision of what minstrelsy is—it's the imitation of blackness, maybe even the parody of blackness, by white actors. But it's actually true that there were African American actors who performed in the style of minstrelsy and performed minstrel shows. It was definitely a much more limited market. It was very difficult for African American actors to make a mark, but because for a long time American theater was really dominated by this style, for actors to be able to kind of make their mark, this is the way that they had to perform. So you see actors like Bert Williams, for example, who made his mark as one of the most famous blackface actors. He was actually black West Indian. And Ira Aldridge as well who, as I said, performed minstrel songs along with his performances of Macbeth and Othello and Shylock.