There is a place for respectful disagreement and thoughtful debate-we need more conversation that leads to action, not less. Unfortunately, we’re seeing an increase in aggressively hostile rhetoric directed toward people of color who take a stand on these issues. The third principle is that no individual, regardless of their stance on these issues, deserves to be singled out for harassment and threats. It is critical, however, that we don’t let those differences and complexities keep us from acknowledging the systemic racism that afflicts our country, nor our power as storytellers and community builders to end it. Yes, the missions of educational institutions are different from those of professional theatres. Yes, we enter into those discussions with different perspectives and familiarity with the issues. Yes, this can be a complex and nuanced discussion. Without it, we risk perpetuating a system that privileges whiteness with greater access and opportunity, and appropriates the cultures of communities of color. Color-conscious casting intentionally considers the race and ethnicity of actors and the characters they play in order to oppose racism, honor and respect cultures, foster stronger productions, and contribute to a more equitable world. What’s required now is a color- conscious, not colorblind, casting approach. This context helps illuminate not only the protests surrounding productions like The Mikado and Cry, Trojans! but also the celebration of the racially diverse Founding Fathers of Hamilton. For example, some of the most abhorrent, racist policies of our country-the Jim Crow laws-were named for “Jump Jim Crow,” a theatrical caricature of blacks performed by a white actor in blackface. In addition, appropriating the identities of communities of color has historically reinforced racial stereotypes and subjugation. While theatre has always been a place for transformation, we must also acknowledge the past oppressions and ongoing inequities facing people of color, including an uneven playing field where the vast majority of opportunities, onstage and off, are held by whites. The second principle is the importance of ending the harmful practice of white actors playing characters of color-what is often called brownface, yellowface, redface, or blackface. We stand in solidarity with the Dramatists Guild’s letter in defense of playwrights’ right to approve changes made to their text, which includes but is not limited to changes made to the characters’ race and ethnicity. The first principle is the creative control of the playwright over critical aspects of their work. While aspects of these issues are complex, there are a few core principles worthy of unambiguous defense. Diep Tran’s article on ( “On the Rights of Playwrights and White Tears”) provides further context to events that have ignited both productive debate and reprehensible personal attacks. This news came on the heels of Katori Hall’s eloquent objection to a production at Kent State of The Mountaintop that featured a white actor playing Martin Luther King Jr. Clarion University in Pennsylvania had to cancel their production of Lloyd Suh’s Jesus in India after neglecting to inform the playwright that they had cast white students in roles written for South Asian actors. Last November, we witnessed two troubling examples of university productions disrespecting a playwright’s intent in regard to casting.
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