Antonia Leonardo
Research Mentor(s): Amy Hughes
Mentor Department: Theatre & Drama
Authors:
Session: Session 1 (9:00am – 9:50am)
Presentation Type: Poster 20
Abstract
For many years, academics in the field of theater history have studied the history of casting in countless productions, and have highlighted the importance these casting decisions have had to audience’s interpretations and understanding of the shows. Particularly, productions of Shakespeare’s “Othello” have captivated historians because of its history of the racially inaccurate castings of its main character, Othello. However, though most of the historical shows have been documented and interpreted, new modern productions of Shakespeare’s tragedy, including a production at the National Theatre in 2022 and a Broadway production in 2025, require the history of these casting decisions to be reevaluated in order to understand these contemporary casting decisions in an ever-changing political scene. By analyzing the history of “Othello” productions, specifically the casting of Othello and Iago, in shows in the United States and Europe, and realizing their cultural and historical significance, as well as studying first hand accounts of these modern productions, it is revealed that the “white male mediocrity†(a phenomenon studied and theorized by Koritha Mitchell and Ijeoma Oluo) present throughout theatre history has played, and continues to play, a significant role in the casting of Shakespeare’s protagonist and antagonist. These productions, often directed and cast by white theatre-makers who dominate the industry (save Clint Dyer’s 2022 production), continue to stumble in their castings of Othello, emphasizing Iago’s spiteful actions instead of Othello’s strength and bravery. Specifically, with a new U.S. American production in a growingly conservative and racially exclusive political scene, it is imperative to learn from these productions in order to transform theatre casting into an inclusive process for both cast members and audiences alike.
