This essay examines the meanings of black and white within the early modern lexicon while considering how these meanings translate in performance. It addresses the relationship between the audience perception of race and the performance of blackness on the early modern stage while explaining the various materials and technologies available to early modern actors to create a range of racial identities, such as black and white cosmetic paints, textiles, clothing, and music. Finally, this essay draws upon available evidence about black presence in early modern England to suggest the plausibility of a more diverse audience than theatre scholars have been willing to admit. This diversity therefore would have influenced not only the reception of racial performances but also the development of staged representations of racial otherness over time.