Passing Strange: Shakespeare, Race, and Contemporary America by Ayanna Thompson (Klett review)
Theatre Journal
Volume 65, Number 2, May 2013
pages 303-304
DOI: 10.1353/tj.2013.0043
Elizabeth Klett, Assistant Professor of Literature
University of Houston, Clear Lake
Ayanna Thompson’s exciting book analyzes a wide variety of sites for performing, interrogating, and dismantling Shakespeare and race in contemporary American popular culture. Arguing that “Shakespeare’s American cultural value and legacy cannot be weighed through performances in traditional venues only” (7), Thompson extends her purview beyond expected forms (such as professional theatre productions and literary and film adaptations) to include nontraditional modes of performance (such as YouTube videos and prison and youth-oriented productions). The book as a whole provides a fascinating and multilayered appraisal of the uses (and misuses) of race in American appropriations of Shakespeare and his plays.
One of the most notable aspects of Thompson’s book is her ability to work with conflicting statements and oppositional ideas, which she often presents, at least initially, as epigraphs to her chapters. For example, she tackles the debate over so-called color-blind casting by foregrounding the very different views of August Wilson and Robert Brustein. Similarly, the book revisits the eternal tensions between universalizing and historically particularist interpretations of Shakespeare, suggesting that Shakespeare is both freeing and something from which one must be freed. Thompson does not attempt to resolve these kinds of contradictions and instabilities; instead, she revels in them, exploring what they reveal about contemporary American culture and its preoccupations with Shakespeare and race. She does take sides, however; as her first chapter warns, the book is occasionally polemical, “because this is a project that requires action and not just passive reflection” (14). Her main goal is “to bring contemporary race studies and contemporary Shakespeare studies into an honest and sustained dialogue,” contending that many performances, citations, and analyses of Shakespeare ignore or elide racial issues (3).
The second and third chapters focus on two films and a young adult novel that engage with Shakespeare and race in varied ways. Thompson’s analysis of each is intriguing and made me want to watch the films and read the novel for myself. In Suture (1993), a film noir about two brothers, one white and one black, Thompson finds a vexed “desire for colorblindness in contemporary American life” (27); although the film strategically ignores the racial differences between them, it also exposes the seam of the racial divide in a culture that elevates stereotypically white standards of beauty. Her argument is fascinating, but the connection to Shakespeare (cited several times in the film) feels somewhat tenuous. Her analysis of Bringing Down the House (2003), a studio vehicle for Steve Martin and Queen Latifah, however, is brilliant. Unpacking the meanings implicit in the character of “William Shakespeare,” a dog owned by a rich conservative, played by Joan Plowright, Thompson concludes that in this satirical film, “Shakespeare represents the epitome of Western culture because he represents the exclusivity of white culture” (37). Targeting both bardolatry and the false universality of whiteness, this big-budget film thus reveals larger ideas circulating in American culture about the meanings of Shakespeare and race and justifies Thompson’s choice of popular materials for her analysis. She goes on to place a more obscure source, the 1992 novel Black Swan by Farrukh Dhondy, in the context of other writers (such as Maya Angelou) who have imagined a black Shakespeare. While she argues that the novel “asks the reader to interrogate if/how the identity and race of Shakespeare impact one’s understanding of the plays,” she also notes that reviewers of the novel tend to whitewash the main characters’ racial identities (55).
Thompson’s fourth chapter is one of the strongest, offering an intelligent discussion and analysis of cross-racial casting. In it, she analyzes the rhetoric employed by classical theatre companies, such as the Oregon Shakespeare Festival (OSF), to describe their approach to race and casting practices, revealing how these companies attempt to yoke Shakespearean universality and multiculturalism together to create “relevant” performances (73). Thompson does not find the results wholly satisfactory, even at well-intentioned companies like OSF. Her “holistic” approach to multicultural casting would incorporate “diversity initiatives” at every level of production to ensure…
