Diversity in Chicagoland Theaters

[Mwbrouwer]

This is a link to an NPR story on Diversity in Chicago's theater scene.

http://audio.wbez.org/848/2006/07/848_20060726e.m3u

I think the subject of diversity is even more important in the suburbs. I can't think of a suburban play I've seen recently that wasn't "white-cast."

1) "Our cast reflects the demographics of our area. We're not going to relocate just because we're sick of middle-aged white collars taking the role of Benedick yet again."

It's the mark of a maturing theater when new plays are sought out and produced. Should we be just as zealous about finding more diverse actors?

[DanMuir]

Do we find someone of another race simply to be diversified, or find the best actor for the role?

I once played in the pit for "Hello Dolly" where Dolly was African-American. She carried the entire show, and did a wonderful job. But this was 1981, when casting decisions like this still raised eyebrows. The mere mention of a black Dolly in an otherwise all-white cast was enough to get a critic from the Trib all the way out to Wheaton. But she was the best person for the job, and the triumph of landing the title role caught up with her and had her in tears at her first curtain call.

Is it a matter of finding more diverse actors, or specifically luring them to come to auditions? Do people of other races not bother to audition, thinking they wouldn't be cast in an "all white" show? I feel that there are a lot more questions to be answered before making the effort to diversify. Like who to target. They might be beaten out by someone better anyway.

Dan Muir

<font color="#a62a2a" size="1">[ August 13, 2006 09:32 AM: Message edited by: The Inspector ]</font>

[Mwbrouwer]

The greatest enemy of creativity: analysis paralysis - a state of being where the act of pondering a problem snuffs out any pontential action towards a solution.

I think this issue is especailly important in the suburbs where a majority of active community members are white.

So if theater casts from talent in their town, they end up with a show the color of their community.

When Chicagoland grows and a more diverse populous migrates to the suburbs, will our theaters be ready to incorporate that diverse talent? Will our theaters be willing and able to communicate the social integration through their performances?

This diversity doomsday will be a great challenge that each community must deal with.

M.B.

[DanMuir]

OK, let's attack this a different way.

Audition notices go out in a variety of ways. Any actor with a computer can log onto NICOTH's Callboard, or go to a theater's website. Newspapers such as the Daily Herald list auditions in the Friday Time Out in the Arts Agenda section. PerformInk and the Reader list auditions throughout the area. Anyone looking for auditions shouldn't have any trouble finding them, if they know where to look. And actors will travel 50 miles or more to do a role. So it's not for lack of getting the word out or casting from a theater's community.

So why aren't more people of different races coming to auditions in the suburbs? Maybe it's the lack of roles suited for them. Put out a casting call for Big River or Showboat or Flower Drum Song, and I'll bet they'll show up in droves. Because they know they'll have a better shot at getting cast. Hold auditions for My Fair Lady or A Little Night Music, and you might get a couple intrepid souls. You'd have a better shot with shows like Guys and Dolls, where people of any race could be cast.

I believe there are plenty of theaters willing to diversify if people of other races would just show up. Perhaps our esteemed moderator could shead some light on the percentage of people of other races who come to auditions.

Dan Muir

[rollstone]

Dan may be right; that droves of minority actors might show for the right auditions. It would be nice to hear Craig's experience on the typical split in audition turnout. The first thing you have to look at, however, is the decisions on what shows to put on. As has been noted in other forums, things are tight for most companies these days and audiences are down. Many are looking to crowd pleasers that will bring in audiences, more than friends and family! It seems like many of the shows that are considered to appeal to suburban demographics aren't attractive to minority actors. And let's face it, the bigger cast shows, musicals in particular, that would be attractive to a wide range of actors, are expensive, risky these days of diminished audiences. Bigger shows are also limited to a pretty small range of companies' abilities. So, can we assume that these actors are getting the info? Can we assume they just don't want to be in the plays being produced? Can we ask them?

[Craig T Gustafson]

From the standpoint of what I would cast: the most talented person for the role. Period. Diversity of casting doesn't enter into it. I won't refuse to cast someone because they're black -- it also wouldn't be a factor in casting them. The caveat here is: does the role call for a specific physical type where that type is important to the script? I wouldn't cast Denzel Washington as John Wilkes Booth in Assassins any more than I would cast Brian Dennehy as Walter in A Raisin in the Sun. Some things, however well intentioned, are just brainless. But if there isn't a specific reason to cast a certain way (this also takes in age & sex as well), I'm open to just about anything.

As to what I could cast: Auditions for the past five years or so have been so sparsely attended that as long as they're human (and I'm negotiable on that), they're welcome as the flowers that bloom in the spring, tra-la. To answer the question, minority turnout is minimal.

When I cast Rumors, we had a pretty good turnout, and though she had heavy competition, I wound up casting Robyn Daniels because she was damn funny, not because she was black. However, she was cast as Cassie, Glenn's trophy wife, who is hostile to pretty much everyone else in the room. The fact that she was defensive not just for being a trophy wife but because she was different from the crowd in which she found herself gave Cassie a dimension that is usually not present in a not-very-well-written role. Robyn was completely wonderful to work with.

In You Can't Take It With You, I cast Tara Hornbeck as Rheba, the maid, which made me nervous for all the usual White Liberal/Ruthless Director balance problems. I tried to pull back on some of the more dated modes of speech given to Rheba, but Tara embraced the part as written and played it to the hilt. I hope both Robyn & Tara would audition for me in the future.

In both shows, white guys were cast opposite black women. Since these actors were all new to me at the time and I didn't know if I had any KKK members or Farrakhan followers present, I had to very tactfully go to each person in each couple and ask if they had a problem with kissing somebody of a different complexion. NOPE! Nobody had a problem on that score.

Lastly, in You Can't Take It With You, there is some dialogue at the top of Act III where black couple Rheba and Donald are recapping what the Silly White Folks did during intermission. It concludes as follows:

RHEBA: I'm glad I'm colored.
DONALD: Me, too!

We kept the line as written. Tara stared at the obviously white Scott as if he might be making fun of her, then broke into a smile and a hug as she realized that she had somebody so color-blind that he didn't know or care what color he was. I said, "Either we're going to get lynched or it'll be the biggest laugh in the show."

It was the biggest laugh in the show.

Craig

<font color="#a62a2a" size="1">[ August 15, 2006 02:41 PM: Message edited by: Sgt. Bilko ]</font>

[actorkent]

I did some theatre for a while for Borealis in Aurora and they would have killed for a more diverse turn out at their auditions. In terms of a diverse community it would be hard to find one moreso than Aurora. Now I have no idea how people in that community viewed Aurora University or the then attached "Borealis Theatre Company" but at that point in time they had basically zip turn out other than Caucasion.
Sad.
And I have the solution!
No. I don't. Just kidding.

[caitcerridwen]

I think the comment made earlier that the diversity of the cast usually reflects the diversity of the community is spot on. (That also applies to scripts...which is why theatres in Wrigleyville are awash with plays about white yuppie 20-something angsting over relationships, but I digress.) I worked alot with a community theatre in the burbs that seems to have totally color-blind casting. They've done Shakespeare and British drawing room comedies with a cast of many colors. Maybe that is unusual, but I suspect not. I still think it's more due to actors not auditioning than companies not being willing to cast them.

[pungster1]

Originally posted by Cait Cerridwen:
I still think it's more due to actors not auditioning than companies not being willing to cast them.

<font size="2" face="Times, Verdana, Helvetica, Arial, sans-serif">I agree-and I also think that where the audition notices are advertized has a hand in it as well.
I directed a show a few years ago where the audition notices were far reaching and I got actors from all over the suburbs and from Chicago as well-a much more diverse mix than what you usually see advertizing locally.
I like to see a diverse mix of actors at auditions and I like to cast a diverse mix of actors because, well-that's the world. But ultimately my casting choices have to do with who fits each part best.

[DanMuir]

Originally posted by Mwbrouwer:

This diversity doomsday will be a great challenge that each community must deal with.

<font size="2" face="Times, Verdana, Helvetica, Arial, sans-serif">But is there really a need for diversity? Are the minorities crying "NO FAIR!"? The talented ones will be and are cast. Directors discriminate over talent, not color. Or should.

Have any of us heard audiences or reviewers dispair over not seeing diversity? I haven't. Nor have I heard exclaimations over a minority actor in an all-white show. Perhaps because it just doesn't matter. I saw a friend in a play in the city where she was the ONLY caucasian, which is what the script called for. It was strange to see, but the tables had been turned; I saw what it was like for other races to cheer on one of their own. But I didn't demand that more caucasians be cast. Wasn't necessary. The rest of the cast was brilliant, and made for a memorable evening.

I once saw a version of "Cat On a Hot Tin Roof" where Big Mama was African-American. It gave an interesting twist to the entire story. However, in the playbill was a disclaimer: "There is no political, racial, cultural, or prejudicially biased reason for the casting of this play." Meaning they cast the most talented people, and it showed.

So, is the doomsday coming? I doubt it. I think it would've been here by now.