In this paper I explore what it means to require Shakespeare at a historically black college by looking at Adrienne Herndon's 1906 essay “Shakespeare at Atlanta University” and W. E. B. Du Bois's Souls of Black Folk. Despite the frequent association of Shakespeare requirements with a conservative agenda, both Herndon and Du Bois imagine possibilities for powerful politics in the performance and study of Shakespeare. Reading these two texts together suggests that teaching, studying, and performing Shakespeare might still be powerful politics at black institutions.

The topic of race has long enriched Shakespeare scholarship. Race scholarship remains marginalized in the broader world of Shakespeare studies. The simultaneous “truth” of these statements reveals a deeply rooted professional ambivalence. And while recent attention has been paid to its manifestation at conferences and in journals, this essay explores its challenge to black teacher–scholars in the majority-white classroom. Rethinking The Merchant of Venice as an educational play, with Portia and Shylock performing as nontraditional teachers, I develop the concept of “teacher trouble” from Judith Butler's “gender trouble” to reflect personally on the perils and liberatory potential of antiracist performative strategies.

This article explores how black artists and intellectuals approach, challenge, and appropriate the works of William Shakespeare. Beginning with W. E. B. Du Bois's contention “I sit with Shakespeare and he winces not,” I examine how Keith Hamilton Cobb in American Moor interrogates Shakespeare's presentation of black identity. In particular, I suggest that modes of ambivalence undergird black American engagement with Shakespeare and that this ambivalence creates the space for black artists to interrogate Shakespeare's representation of blackness and white culture's gatekeeping of the Shakespearean text and its performance while also reimagining and recasting that representation to fit their contemporaneous needs.

This essay explores the world of a new production of The Taming of the Shrew, still in the earliest stages of development, that will employ non-traditional casting and re-envision Katharina (“as brown in hue / as hazelnuts”), “fair” Bianca, and their father Baptista as members of a mixed-race family. The production is conceptualized, cast, and rehearsed under the guidance of José Esquea, producer/director of the Soñadores Productions Shakespeare series (formerly of Teatro LATEA), a classical theater group that features Latinx, African American and Asian American actors, and mixed-ability casting (the combination of professional and amateur actors from the community).