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American Moor
The intelligent, intuitive, indomitable, large, black, American male actor explores Shakespeare, race, and America ... not necessarily in that order.
Keith Hamilton Cobb embarks on a poetic exploration that examines the experience and perspective of black men in America through the metaphor of Shakespeare's character Othello, offering up a host of insights that are by turns introspective and indicting, difficult and deeply moving. American Moor is a play about race in America, but it is also a play about who gets to make art, who gets to play Shakespeare, about whose lives and perspectives matter, about actors and acting, and about the nature of unadulterated love.
American Moor has been seen across America, including a successful run off-Broadway in 2019.
This edition features an introduction by Professor Kim F. Hall, Barnard College.
Keith Hamilton Cobb embarks on a poetic exploration that examines the experience and perspective of black men in America through the metaphor of Shakespeare's character Othello, offering up a host of insights that are by turns introspective and indicting, difficult and deeply moving. American Moor is a play about race in America, but it is also a play about who gets to make art, who gets to play Shakespeare, about whose lives and perspectives matter, about actors and acting, and about the nature of unadulterated love.
American Moor has been seen across America, including a successful run off-Broadway in 2019.
This edition features an introduction by Professor Kim F. Hall, Barnard College.
73 pages, Kindle Edition
Published March 19, 2020
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Displaying 1 - 30 of 49 reviews
May 28, 2023
You are afraid of me. I am afraid that nothing will ever change.
holy FUCK this is a stunning piece of theater & literature alike. this play is so sharply alive, dancing from shakespearean dialect to colloquialism in a breath, and it’s simultaneously so angry and so optimistic, and it’s a stunning piece of art about the complexities of a black man’s love for shakespeare, and i kind of want to copy-paste every single line into this review to make you understand how good it is, but i can’t do that, so you’ll just have to read it yourself please god please if you've ever read a shakespeare
April 9, 2026
Fascinating commentary on Othello's complicated legacy, and what it means to navigate the text as a contemporary Black actor. Would have loved to have seen this live, as I think the contrast between The Actor's inner monologue and voiced lines to The Director would come across even stronger with the intended performance.
October 3, 2020
anyone who reads othello oughta b required by law to read this. shakespeare, in my correct opinion, has nothing on this masterpiece. “Down underneath, we’re all getting our fragile human condition smacked around every goddamn day, and nobody sees, hears, contemplates, gives a fuck, until it all comes out somewhere horrible…” anyway hamlet takes five acts to say this and mr. cobb obliterates him in five seconds. goddamn brilliant
May 12, 2025
“And so, though I fit not your equation as seen through your narrow little lens, little shall I grace my cause, Othello’s cause, the play’s cause, the American theatre’s cause, to pretend that I don’t know that you are frightened of me. You are afraid of me. I am afraid that nothing will ever change. And these are forgeries of jealousy” (29).
This is an incredible commentary on the American theatre community and its exclusionary productions, in which people of color are typecast and incorrectly instructed on their own experiences by white scholars.
Through both Othello and the Actor, you vicariously experience the rage they must feel in knowing their own potential, capabilities, and achievements, yet having to prove themselves time and time again.
It’s worse because the Actor is open to such conversations. Even though Michael isn’t listening, this play is for more than him. It’s for the audience, in hopes that they will at least listen.
“You have the courage not to dismiss me, I believe in you, Michael. I know you do. Tell me what you hate… what you fear. Trust me. I will protect you. I will not let anything hurt you. Talk with me. We got so much to talk about” (41).
This is an incredible commentary on the American theatre community and its exclusionary productions, in which people of color are typecast and incorrectly instructed on their own experiences by white scholars.
Through both Othello and the Actor, you vicariously experience the rage they must feel in knowing their own potential, capabilities, and achievements, yet having to prove themselves time and time again.
It’s worse because the Actor is open to such conversations. Even though Michael isn’t listening, this play is for more than him. It’s for the audience, in hopes that they will at least listen.
“You have the courage not to dismiss me, I believe in you, Michael. I know you do. Tell me what you hate… what you fear. Trust me. I will protect you. I will not let anything hurt you. Talk with me. We got so much to talk about” (41).
July 7, 2020
Keith Hamilton Cobb plays a Black actor auditioning for the role of Othello. He’s the only person to appear on the stage, while the voice of a director can be heard when they interact with each other. Cobb speaks to the audience and director, often separately. He goes through his prepared monologue as he feels appropriate, and finds disagreement with a director who thinks he knows better. Tension is exposed as Cobb tells the audience what he thinks and feels in these situations where one plays nice to get at an opportunity. In pushing back against the director, the actor states, “Nobody ever plays the devil’s advocate. They play their own advocate, and hide behind that stupid idiom to avoid having to take responsibility for it” (30).
There’s pages of raw outpouring of emotion from the actor. Context, historical analysis, and personal insight all contribute to Cobb’s message on race and Shakespeare’s Othello. “Ya see, for you, at best, Othello is like your little exercise in understanding. You think you get him… you can commiserate, you have empathy for his condition. No you do not… there is nothing more infuriating that white folks actin’ like they know your story well enough to tell it without your help” (40-41).
This read left me with a lot to think about. Cobb’s insight spells out clearly, effectively, and with anger the weight of racism in artistic spaces. Every point hits hard, and the overall feeling I took away was one of contemplation. I can’t recommend this enough. American Moor by Keith Hamilton Cobb is a powerful text that has brought me to reflect upon my own biases.
There’s pages of raw outpouring of emotion from the actor. Context, historical analysis, and personal insight all contribute to Cobb’s message on race and Shakespeare’s Othello. “Ya see, for you, at best, Othello is like your little exercise in understanding. You think you get him… you can commiserate, you have empathy for his condition. No you do not… there is nothing more infuriating that white folks actin’ like they know your story well enough to tell it without your help” (40-41).
This read left me with a lot to think about. Cobb’s insight spells out clearly, effectively, and with anger the weight of racism in artistic spaces. Every point hits hard, and the overall feeling I took away was one of contemplation. I can’t recommend this enough. American Moor by Keith Hamilton Cobb is a powerful text that has brought me to reflect upon my own biases.
March 4, 2024
shit so bad its funny
November 19, 2024
super interesting criticism of the gap between the text itself and the text's theatrical production/ interpretation, esp as it pertains to the director/actor power dynamic in relation to racial identity---but I am not the biggest fan of reading plays!
June 25, 2023
I have never felt worse about being a white english major studying shakespeare but also never read a better, angrier play
November 23, 2021
I recently finished reading Othello for a University Shakespeare class. What was made quite clear from the beginning of Othello was the obvious role that race plays within the novel. Othello is a Moor. Everyone else is Italian. And with the eventual tragic actions that Othello performs within that play make it even more about race, particularly for anyone who is reading the play in the United States. Why the U.S. you might ask? Oh, because we have - since before this nation was a nation - systemically enslaved or hindered the freedom of men and women because of their blackness.
However, reading Othello in a modern setting is problematic like most of Shakespeare’s plays because it’s Shakespeare. The Bard himself. And even if you can comfortably read Early Modern English, you have to overcome the intimidation factor that exists because it is Shakespeare. So, it’s quite too easily to allow our understanding of race to seep through this play unchecked, which is where American Moor comes in.
American Moor isn’t directly about Othello but the thoughts and experiences of a black, male actor auditioning to a white, male director for the role of Othello. And because of this dynamic, Othello can be updated and better understood within our current historical context. Now, instead of Othello being some cruel, mindless wife-murderer, we can see him as something heroic, something misunderstood, something relevant.
And I greatly appreciate that. I appreciate seeing actors modernize and diversify Shakespeare. I appreciate seeing Shakespeare belonging to other people beyond white, male academics. And ultimately, I appreciate the rawness that Keith Cobb brings to this plays as well as the structure that he decided to incorporate it into.
Drama never is as good on the page as it is on the stage, and I would love to see this performed live.
However, reading Othello in a modern setting is problematic like most of Shakespeare’s plays because it’s Shakespeare. The Bard himself. And even if you can comfortably read Early Modern English, you have to overcome the intimidation factor that exists because it is Shakespeare. So, it’s quite too easily to allow our understanding of race to seep through this play unchecked, which is where American Moor comes in.
American Moor isn’t directly about Othello but the thoughts and experiences of a black, male actor auditioning to a white, male director for the role of Othello. And because of this dynamic, Othello can be updated and better understood within our current historical context. Now, instead of Othello being some cruel, mindless wife-murderer, we can see him as something heroic, something misunderstood, something relevant.
And I greatly appreciate that. I appreciate seeing actors modernize and diversify Shakespeare. I appreciate seeing Shakespeare belonging to other people beyond white, male academics. And ultimately, I appreciate the rawness that Keith Cobb brings to this plays as well as the structure that he decided to incorporate it into.
Drama never is as good on the page as it is on the stage, and I would love to see this performed live.
November 27, 2025
"You are afraid of me. I am afraid that nothing will ever change. And these are the forgeries of jealousy"
I'm afraid I have begun to love the art of plays. I will admit that the plays I have read this year are for a class I am taking, but nonetheless they have opened my eyes to a writing genre and style that I hold dear to my heart.
There are layers to this play. It's short and simple, but arduous and complex, and I hope to squeeze all that I can knowing that there is still juice to be had. What first caught my attention was the discourse between having the character of Othello played by a black man, despite it being such a degrading (not sure if that's the most perfect word) role. We talked about this in class, and this play is a vessel to portray Othello's character in a better way. He provided a way for Black men to be seen through this play. They challenge stereotypes and acknowledge the anger and display how much change still needs to be done.
Another aspect of this play that I enjoyed what the "interaction" to be had with the audience. I'm sure this would be a whole different level of amusing and breathtaking presented on a stage, but with what I have I will continue. We don't know how much of it is being said to Michael nor how much of it is being said to himself NOR how much of it is being said to us. Do we assume Michael has heard everything and is thus feigning ignorance? Or do we see a side of Black American culture where hushed voiced and performance are intertwined?
At first I read the actor's voice as condemning fellow Black American actors for taking up these stereotypical and demeaning roles, but what I have come to question is why isn't there more roles that shed Black people in a better light? We see this phenomenon in modern entertainment where a lot of white roles are given to Black people in order to seem more "woke" or "politically correct," but what there isn't more of are roles specifically for Black people. I don't mind a Black witch, but I did find Sinners much more (idk for lack of better words) cool.
That's all for now, but this was a wonderful read!!
I'm afraid I have begun to love the art of plays. I will admit that the plays I have read this year are for a class I am taking, but nonetheless they have opened my eyes to a writing genre and style that I hold dear to my heart.
There are layers to this play. It's short and simple, but arduous and complex, and I hope to squeeze all that I can knowing that there is still juice to be had. What first caught my attention was the discourse between having the character of Othello played by a black man, despite it being such a degrading (not sure if that's the most perfect word) role. We talked about this in class, and this play is a vessel to portray Othello's character in a better way. He provided a way for Black men to be seen through this play. They challenge stereotypes and acknowledge the anger and display how much change still needs to be done.
Another aspect of this play that I enjoyed what the "interaction" to be had with the audience. I'm sure this would be a whole different level of amusing and breathtaking presented on a stage, but with what I have I will continue. We don't know how much of it is being said to Michael nor how much of it is being said to himself NOR how much of it is being said to us. Do we assume Michael has heard everything and is thus feigning ignorance? Or do we see a side of Black American culture where hushed voiced and performance are intertwined?
At first I read the actor's voice as condemning fellow Black American actors for taking up these stereotypical and demeaning roles, but what I have come to question is why isn't there more roles that shed Black people in a better light? We see this phenomenon in modern entertainment where a lot of white roles are given to Black people in order to seem more "woke" or "politically correct," but what there isn't more of are roles specifically for Black people. I don't mind a Black witch, but I did find Sinners much more (idk for lack of better words) cool.
That's all for now, but this was a wonderful read!!
March 19, 2026
I am glad my Shakespeare Fanfiction course led me here. I am not a Shakespeare person but this immediately pulled me in. “You know, it was never written to be read. It was written to be seen, and heard” (page 6). That quote is exactly how I feel about Shakespeare.
The way this play is set up is very interesting, and I liked it a lot. The switches between reality to a monologue was written very well. I especially loved how deeply it focuses not only on Othello as a black man but what it means to be a black man in a world that is constantly scared of you, a world that you have to hold your full self back. This message is delivered with such eloquence that you truly feel the emotions and meanings — rage, sadness, sarcasm, disbelief, and more. If you get the chance, please read it!
Some of my favorite lines:
- “You're an actor, You’re supposed to be open, available to this “creative process . . .” But, you see, in matters of race, throughout my American life, whenever some white person, well-meaning or otherwise, has asked me to “be open” they have invariably meant, “See it my way.” And in this instance, in this play, that is unacceptable.” (page 19)
- “This is my point. Down underneath, we’re all
getting our fragile human condition smacked around every gotdamn day, and nobody sees, hears, contemplates, gives a fuck, until it all comes out somewhere horrible…” (page 33)
- “Just like you, Brotherman, and like me. Like
everybody. He is wholly human. But he is Black. And to be Black here has only ever meant to be more misread, misrepresented, misinterpreted . . . more misunderstood.” (page 39)
- An American Black man burns a whole lotta calories trying to keep a rein on full half of himself just so people around him don’t get nervous. I’m done, I do not mean to scare you, but I do it just standin’ here, so how may I honestly express to you the joys, the hurts, the rages that would realistically compel this character’s life without you piss yourself and call me crazy?” (page 41)
The way this play is set up is very interesting, and I liked it a lot. The switches between reality to a monologue was written very well. I especially loved how deeply it focuses not only on Othello as a black man but what it means to be a black man in a world that is constantly scared of you, a world that you have to hold your full self back. This message is delivered with such eloquence that you truly feel the emotions and meanings — rage, sadness, sarcasm, disbelief, and more. If you get the chance, please read it!
Some of my favorite lines:
- “You're an actor, You’re supposed to be open, available to this “creative process . . .” But, you see, in matters of race, throughout my American life, whenever some white person, well-meaning or otherwise, has asked me to “be open” they have invariably meant, “See it my way.” And in this instance, in this play, that is unacceptable.” (page 19)
- “This is my point. Down underneath, we’re all
getting our fragile human condition smacked around every gotdamn day, and nobody sees, hears, contemplates, gives a fuck, until it all comes out somewhere horrible…” (page 33)
- “Just like you, Brotherman, and like me. Like
everybody. He is wholly human. But he is Black. And to be Black here has only ever meant to be more misread, misrepresented, misinterpreted . . . more misunderstood.” (page 39)
- An American Black man burns a whole lotta calories trying to keep a rein on full half of himself just so people around him don’t get nervous. I’m done, I do not mean to scare you, but I do it just standin’ here, so how may I honestly express to you the joys, the hurts, the rages that would realistically compel this character’s life without you piss yourself and call me crazy?” (page 41)
October 13, 2025
This should be mandatory to read after Othello, it takes a centuries old classic and puts it in perspective of modern day racial issues. The insanely detailed stage instructions, the anger infused words and the attention to the text just makes this book so much better. Keith Hamilton Cobb you fucking genius.
EDIT:
My favorite quotes:
“The dudes who say things like, ‘And what Shakespeare was trying to say here is …’ And you wanna say, ‘I didn’t know you knew him like that, Slick’”(Cobb 14).
“I was ashamed of him. I was ashamed that any reasonable person could look at me and see him”(28).
“‘Precious baby, that white man whose eyes ya been lookin’ at yourself though, he’s always gonna need to see certain things whether they’re there or not’”(29).
“Nobody ever plays the devil’s advocate. They play their own advocate and hide behind that stupid idiom to avoid having to take responsibility for it”(32).
“You’ll turn right around and call that ‘playing the race card.’ Motherfucker, you’re doin’ Othello. You picked up the race deck”(34).
—-
There’s so many good golden nuggets in there but those are the ones I could find for the time being.
EDIT:
My favorite quotes:
“The dudes who say things like, ‘And what Shakespeare was trying to say here is …’ And you wanna say, ‘I didn’t know you knew him like that, Slick’”(Cobb 14).
“I was ashamed of him. I was ashamed that any reasonable person could look at me and see him”(28).
“‘Precious baby, that white man whose eyes ya been lookin’ at yourself though, he’s always gonna need to see certain things whether they’re there or not’”(29).
“Nobody ever plays the devil’s advocate. They play their own advocate and hide behind that stupid idiom to avoid having to take responsibility for it”(32).
“You’ll turn right around and call that ‘playing the race card.’ Motherfucker, you’re doin’ Othello. You picked up the race deck”(34).
—-
There’s so many good golden nuggets in there but those are the ones I could find for the time being.
April 9, 2026
A very smart play, I appreciate the commentary this provides on what Othello means particularly to black American men. Keith Hamilton Cobb does excellent work giving voice to the frustrations I found myself having with Othello---like Cobb, my issues with the play are not only with its content but with grappling with white perceptions of Othello. The question of whether we should still be performing Othello came up on my first day in class, with many saying No because it is a traumatic experience to put an actor through. Which is undeniable---but like Cobb, I look at the theatrical canon and wonder what roles there are for black men that aren't a performance of black trauma. Of course, the context shifts when we're talking about black plays by black playwrights, but these plays still find themselves existing in the eyes of white audiences/directors/professors/students time and time again.
April 9, 2024
this is such an amazing piece that transcends shakespeare-- or at least what i expected. this is for my shakespeare and adaptations class, but this isn't an adaptation, its a critique. othello is just a springboard for the speaker to connect the past treatment of black men in shakespeare's time to now, which has unchanged. it includes the lack of diversity in theatre casting, and even with race-conscious casting theatre currently holds now, this play makes the very important part that there are very little roles made for black actors specifically, rather than being able to usurp traditionally white roles.
October 11, 2025
“You ain’t gotta pick me. But you’re gonna respect that walkin’ through that door, purely by virtue of being born Black in America, I know more about who this dude is than any graduate program could ever teach you.
I seem a little angry to you? … You think any American Black man is gonna play Othello without being in touch with his anger … at you? Yeah well … if that’s what you think, then you better go back to having white boys do it…”
***
cobb understands everything i’ve ever wanted to say as a black student in a predominantly white english program studying black lit …………
I seem a little angry to you? … You think any American Black man is gonna play Othello without being in touch with his anger … at you? Yeah well … if that’s what you think, then you better go back to having white boys do it…”
***
cobb understands everything i’ve ever wanted to say as a black student in a predominantly white english program studying black lit …………
March 26, 2022
One of those plays where I just cannot gage how much I like it without seeing it on a stage. Reading it just didn’t do much for me, there was too much to take in at once.
That being said, I love the engagement with the racism in Othello and in the directors who put on Othello. I love the questions this play provokes about who should play Othello, and if anyone should even play Othello at all.
Truly, the audacity of white men sometimes. Loved the anger, very real. But I need to see this one, rather than read it.
That being said, I love the engagement with the racism in Othello and in the directors who put on Othello. I love the questions this play provokes about who should play Othello, and if anyone should even play Othello at all.
Truly, the audacity of white men sometimes. Loved the anger, very real. But I need to see this one, rather than read it.
June 28, 2021
Brings to light a unique perspective on opportunities for black males in Shakespearean theater. The struggle to stay "in his lane" and an actor weighted against his desire to express his frustrations and better the experience for himself and others (director, audience, fellow actors). The end was disappointing but absolutely realistic.
January 28, 2023
I had the pleasure to work directly with Keith on a play reading at my home institution on a play reading of this play. The words on the page come alive when someone else, especially him (who the actor is based on) reads them out loud in a performance.
Even reading it is powerful. Keith conveys the exact way a person speaks in a similar situation on the page, but his own twists on his words are wonderful!
Just like Shakespeare, which conceptually is what it is based on, it should be seen performed, or at least, read out loud.
Even reading it is powerful. Keith conveys the exact way a person speaks in a similar situation on the page, but his own twists on his words are wonderful!
Just like Shakespeare, which conceptually is what it is based on, it should be seen performed, or at least, read out loud.
October 17, 2024
A concise, deeply moving exploration of what it means to be Black in Shakespearean theatre. The voice of the Actor is compelling, discerning, and fiercely intelligent. This is a play of clear poeticism and cutting accusation; Cobb writes a production that demands listening, reflecting, and learning.
9/10
9/10
February 13, 2022
Very interesting play, and uses Othello and Shakespeares source-material in a striking and unconventional play. It is a little difficult to read, with syntax that is complex. Perhaps best consumed as performance rather than being read as a result.
September 28, 2022
« I seem a little angry to you ?… You think any American Black man is gonna play Othello without being in touch with his anger… at you? Yeah, well… if that’s what you think, then you better go back to having white boys do it… »
November 5, 2025
holding shakespeare in contempt.
one man play: a black actor is auditioning for Othello. The white director is off-stage. His presence is just his voice.
Good. Lettuce be mad at shakespeare, shakespeare's white people, and white people's shakespeare.
one man play: a black actor is auditioning for Othello. The white director is off-stage. His presence is just his voice.
Good. Lettuce be mad at shakespeare, shakespeare's white people, and white people's shakespeare.
July 30, 2020
Really quite unflinching, damning and hopeful in equal measure.
December 21, 2020
Teaching this in the spring. Very much looking forward to seeing the production and teaching the play.
August 28, 2021
Vulgar rubbish
September 22, 2021
“Nobody ever plays the devil’s advocate. They play their own advocate, and hide behind that stupid idiom to avoid having to take responsibility for it.”
November 3, 2021
Gonna be honest, I have no idea what this play was talking about, but Cobb writes so eloquently that I was impressed anyway.
December 9, 2021
Amazing!
August 25, 2022
I loved this play so much
Displaying 1 - 30 of 49 reviews