In 1831 Aldridge successfully played in Dublin; at several locations in southern Ireland, where he created a sensation in the small towns; as well as in Bath, England and Edinburgh, Scotland.
The actor Edmund Kean praised his Othello; some took him to task for taking liberties with the text, while others attacked his race.
Since he was an American black actor from the African Theatre, The Times called him the "African Roscius", after the famed actor of ancient Rome.
Aldridge used this to his benefit and expanded African references in his biography that appeared in playbills, also identifying his birthplace as "Africa" in his entry in the 1851 census.
In June 1844 he made appearances on stage in Exmouth (Devon, England).

By at least 1833 he had added the anti-heroic role of Zanga in Edward Young's The Revenge to his repertoire.
The Revenge (1721) race-flips the plot of Othello by showing how Zanga, a captured Moorish prince who has become the servant and confidant of the noble Don Alonzo, vengefully tricks him into believing his wife is unfaithful.
Alonzo finally kills himself and Zanga exults: "Let Europe and her pallid sons go weep; / Let Afric and her hundred thrones rejoice: / Oh, my dear countrymen, look down and see / How I bestride your prostrate conqueror!"

An illustrated review of this performance at the Surrey Theatre shows Aldridge triumphing over Alonzo, dressed in flowing Moorish robes, which, according to the critic, "reminds one of the portraits of Abd-el Kader".
The same reviewer praised Aldridge's comic talents in the contrasting role of Mungo (in the Bickerstaffe farce The Padlock), describing them as a refreshing corrective to current stereotypical "blackface" representation, "...differing entirely from the Ethiopian absurdities we have been taught to look upon as correct portraitures; his total abandon is very amusing."

Aldridge first toured to continental Europe in 1852, with successes in Germany, where he was presented to the Duchess of Saxe-Coburg-Gotha, and performed for Frederick William IV of Prussia; he also performed in Budapest.
An 1858 tour took him to Serbia and to Imperial Russia, where he became acquainted with Count Fyodor Tolstoy, Mikhail Shchepkin and the Ukrainian poet and artist Taras Shevchenko, who did his portrait in pastel.

Now of an appropriate age, about this time, he played the title role of King Lear (in England) for the first time.
He purchased some property in England, toured Russia again (1862), and applied for British citizenship (1863).
Shortly before his death he was apparently ready to return to America to perform.
It was reported that Aldridge had negotiated a 100-show-tour throughout the post-Civil War United States  In its obituary of Aldridge, The New York Times stated he had been booked to appear in the city's Academy of Music in September, but "Death has prevented the fulfilment of his intention".
In 1831 Aldridge successfully played in Dublin; at several locations in southern Ireland, where he created a sensation in the small towns; as well as in Bath, England and Edinburgh, Scotland. The actor Edmund Kean praised his Othello; some took him to task for taking liberties with the text, while others attacked his race. Since he was an American black actor from the African Theatre, The Times called him the "African Roscius", after the famed actor of ancient Rome. Aldridge used this to his benefit and expanded African references in his biography that appeared in playbills, also identifying his birthplace as "Africa" in his entry in the 1851 census. In June 1844 he made appearances on stage in Exmouth (Devon, England).
By at least 1833 he had added the anti-heroic role of Zanga in Edward Young's The Revenge to his repertoire. The Revenge (1721) race-flips the plot of Othello by showing how Zanga, a captured Moorish prince who has become the servant and confidant of the noble Don Alonzo, vengefully tricks him into believing his wife is unfaithful. Alonzo finally kills himself and Zanga exults: "Let Europe and her pallid sons go weep; / Let Afric and her hundred thrones rejoice: / Oh, my dear countrymen, look down and see / How I bestride your prostrate conqueror!"
An illustrated review of this performance at the Surrey Theatre shows Aldridge triumphing over Alonzo, dressed in flowing Moorish robes, which, according to the critic, "reminds one of the portraits of Abd-el Kader". The same reviewer praised Aldridge's comic talents in the contrasting role of Mungo (in the Bickerstaffe farce The Padlock), describing them as a refreshing corrective to current stereotypical "blackface" representation, "...differing entirely from the Ethiopian absurdities we have been taught to look upon as correct portraitures; his total abandon is very amusing."
Aldridge first toured to continental Europe in 1852, with successes in Germany, where he was presented to the Duchess of Saxe-Coburg-Gotha, and performed for Frederick William IV of Prussia; he also performed in Budapest. An 1858 tour took him to Serbia and to Imperial Russia, where he became acquainted with Count Fyodor Tolstoy, Mikhail Shchepkin and the Ukrainian poet and artist Taras Shevchenko, who did his portrait in pastel.
Now of an appropriate age, about this time, he played the title role of King Lear (in England) for the first time. He purchased some property in England, toured Russia again (1862), and applied for British citizenship (1863). Shortly before his death he was apparently ready to return to America to perform. It was reported that Aldridge had negotiated a 100-show-tour throughout the post-Civil War United States  In its obituary of Aldridge, The New York Times stated he had been booked to appear in the city's Academy of Music in September, but "Death has prevented the fulfilment of his intention".
Ira Aldridge