Abstract
This essay examines Wilkie Collins’s theatrical collaborations with actor-stage manager Charles Albert Fechter from 1867 to 1869, paying particular attention to the ways in which Fechter and Collins focused on questions of race and empire. By historicising their 1869 play Black and White in light of the Morant Bay uprising and its discursive appearances in Britain, the essay argues that Collins and Fechter aimed to reinvent the race melodrama using the model of the imperial melodrama. The failure of this ambivalent play, which presents a critique of racial domination for its all-but-white protagonist alongside racist minstrelsy comedy, affected Collins’s subsequent presentation of racialised characters in his work.
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