KEITH HAMILTON COBB
Perhaps you know him from his portrayal of Noah Keefer on “All My Children”, or maybe as Tyr Anasazi from Gene Roddenberry’s “Andromeda”, or could it be from the television series “Beastmaster”? If you’re familiar with Noah’s Arc, you may have seen him there. Wherever you think you know him from, think again. You couldn’t possibly know the Keith Hamilton Cobb we came to know on stage in “American Moor”.
“American Moor” is a bold, unapologetic view of one man’s experience in the world of the American Theater as he is confronted with the perception of himself, not only from outside, but also from within. It is an inside glimpse of a 6 foot 4 inch Black American male, auditioning for the role of a lifetime, Othello. This sounds simple enough, right? Well, the man auditioning is none other than Keith Hamilton Cobb, himself. You see, it’s not always as easy as walking into a casting agent’s or director’s office and reading for a part. One has to contend with suggestions from a white, probably younger, opinionated artistic director who assumes he knows how the part of Othello should be and will be played by the actor standing before him, or whomever he casts in the role. He presumes to know how a Black man would best portray such a character for authenticity and believability. What results is a tug of war which in turn leads to many questions about the American experience as a whole- not simply one man’s, but every man’s.
“Where my experience as a Black American man, my journey as an American actor, and my life-long love of Shakespeare and the English language meet within me, has been no easy peace” says Cobb. The realization of that statement is all too apparent in this one man production.
“American Moor” is at times intense, contemplative, introspective, jaw dropping, and funny. This is all while forcing us to ask important, complex, and at times uncomfortable questions of ourselves as well as each other. This play exposes the American theater as a microcosm of contemporary society in this “Black Lives Matter” era. If you get the chance to see it, this is one play worth the time and money it will cost to experience 75 minutes you won’t soon forget.
Take a look at Keith Hamilton Cobb in our film cafe as he sits down with “Quiet on the Set Magazine” to talk about the play, contemporary theater, and his career past, present, and future.
