By making fresh connections among intersecting categories of Shakespearean performance, publicity, and reception, Kinsley’s study reassesses what it meant to produce, perform, and enjoy Shakespeare in the United States at the turn of the twentieth century, and the implications of this material for how we understand key questions of nationality, ethnicity, and race during this period. By laying Black and blackface performances alongside those of immigrants performing Shakespeare in their native tongues, Kinsley develops the argument that the notion of race, no less than the meaning of performing Shakespeare or being American, was by no means fixed. Drawing on Diana Taylor’s contrast between repertoire and archive, Kinsley challenges us to concern ourselves less with the fixed data points that archival sources help us to establish and more with the larger canvas of connections we can make between this set of Shakespearean performances and the social forces that shaped them and were in turn shaped by them.