https://thespectator.com/topic/william-shakespeare-black-white-race/
Sarah Karim-Cooper first came to public attention at the cosmetics counter. Her book on makeup in Renaissance theater, Cosmetics in Shakespearean and Renaissance Drama, was published in 2006. Its enduring popularity is not so much a testament to her scholarly insights on powdered hogs’ bones mixed with poppy oil — the old stage recipe for pale skin — or Shakespeare’s sardonic references to the kind of beauty “purchased by the weight” in The Merchant of Venice, as to Karim-Cooper’s celebrity: for more than a decade she’s been one of the leading racializers of Shakespeare’s work.
Perhaps the key moment in her rise to fame was her 2018 curation of the Globe Theatre’s first “Shakespeare and Race Festival,” now held annually. Those who are scratching their heads trying to think where, besides Othello, or perhaps Shylock, you can find “race” in Shakespeare, should hie them to the postmodern cosmetic counter. Race is not where we find it — it is where we put it. And Karim-Cooper puts it everywhere.
In 2018 the hype explained: “This festival will highlight the importance of race to the consideration of Shakespeare not only in his time, but more urgently, in our own.” The festival included a lecture by Kimberlé Crenshaw, better known on this side of the Atlantic as an inventor of “Critical Race Theory” and the concept of “intersectionality” — the notion that people who fall into more than one stigmatized category suffer more than the sum of their grievances.
You may be sure that Karim-Cooper is on top of this. She has been effacing Shakespeare professionally for some seventeen years at Shakespeare’s Globe in London, where she is currently co-director of education and research. She is also professor of Shakespeare studies at King’s College, London, and has written prolifically on the bard and Jacobean theater. This month, Penguin Random House will release her newest book, The Great White Bard: How to Love Shakespeare While Talking About Race.