I
recently read a review in the Arts and Entertainment section of LinkedIn. It’s
by Gillian Gaar –
Seattle Pop Culture Examiner:
Oklahoma!, the first
musical by the legendary team of Richard Rodgers (music) and Oscar Hammerstein
II (lyrics), has been a crowd pleaser since its 1943 debut... As written, Oklahoma! epitomizes the
well-crafted musical. But the [theatre] can’t resist adding some modern
touches, which don’t always come off. ..problematic is the racial integration
of the cast, specifically the character of Jud. There are essay's in the show's
program addressing this aspect of the production, stating that the Oklahoma
territory did in fact have a substantial black population. But did blacks and
whites mix and mingle in as free and friendly a fashion as shown here? As the
historical record shows — no.
I love the classic musicals. I find them to be great fun, with amazing music and beautifully simple stories. One of my favorite theatre experiences is doing Oklahoma.
I saw the audition notice for the show and immediately got excited. The theatre was seeking “ethnic minorities”. I didn’t realize it at the time, but all theatres or productions say this. Because of prior legal action it has to be stated in the Equity listings that “Performers of all ethnic and racial backgrounds are encouraged to attend”. Check for yourself. It’s on the bottom right hand of every online Equity notice and in the Backstage ads.
This particular time was different though. The theatre actually listed which ethnicities they were interested in playing which roles. They weren’t excluding anyone but rather trying to include performers who wouldn’t necessarily attend the audition. Everyone in the Business is aware of the fact that shows like this tend to be cast “traditionally”. If you’re outside the “tradition” and you love the pieces, are suited talent wise and want to perform them, it’s a heartbreaking fact.
The definition of “tradition” is a ritual, belief or object passed down within a society, still maintained in the present, with origins in the past.
There’s a history of social segregation in America. In American “civilized society”, segregation ruled through Jim Crow Laws from 1876-1965. Blacks, and those perceived to be black, and whites were legally not allowed to publically share the same area, for example in restaurants, restrooms, elevators, and theatres. Therefore any show that was conceived and produced during this period, especially the early years, was cast either white or black. The exception would be the variety shows which could feature ethnic performers, as long as they entered the theatre from a different door, had different dressing rooms, dressers and the like.
The fathers of American Musical Theatre were alive and thriving during this period of social inequality. Most, if not all of their shows were originally cast using a dividing line of color. This established the “ritual or belief passed down” within the theatrical society. These people had no other choice, unless they wanted to take unlawful action and face imprisonment or worse.
The classic Musical Theatre canon has for the most continued to be cast in this way. Therefore by definition “traditional” and “non-traditional” is propagating segregation.
Times have changed and so have a lot of the social mores of America. No one is legally forced to use a separate drinking fountain or to sit in the back of the bus. To a large extent we as a culture have moved towards equality.
With a creative team actively seeking ethnic minorities I had a chance to transcend the “lines of segregation”. I was going to honestly be considered for an iconic role, a role that had “traditionally” been cast as “non-ethnic”. I was going to be the Rosa Parks of musicals!
I was the best little actor I could be. I studied the show. I learned the songs and lines. I had coachings on all of it. I went so far as to subtly “dress” the part. I even sang the character’s songs for the initial audition.
It worked. I got cast. I was playing “Will Parker” in Oklahoma.
On arrival at the theatre, the company had set up a luncheon for the local supporters and subscribers to meet the cast, and also for the cast to meet each other. I walked in and looked around at the other actors (you can always pick us out). My first thought was any one of these guys could be playing “Will Parker”. They’re obviously talented and not ethnic, which is the way everyone assumes the role to be cast.
During our first rehearsal the director explained to my co-star and me exactly why he had cast us, both ethnic actors, in our roles. He had valid reasoning and historical research to back up his choices. It made perfect sense, and still does.
The vast majority of the area’s population was American Indian and Black.
In 1865 the American Civil War ended.
In 1866 slavery was abolished the territory that would become present day Oklahoma.
In 1870 Hiram Rhodes Revels was the first African American in Congress.
In 1871 the first railroad entered into Indian Territory (Oklahoma), built by immigrant and freeman (black) labor.
In 1889 Freeman purchased land, along with the American Indians in the Oklahoma territory.
In 1906 O. W. Gurley, an extremely wealthy land owner, resigned from a presidential appointment and purchased 40 acres of land in Tulsa, Oklahoma to be used exclusively for the “Colored”. He was African-American.
The show takes place in 1907 when Oklahoma became the 46th state.
The reasons behind the director wanting to cast ethnic leads went on. I was happy to have been cast in such a great role. I was ecstatic to have some historical information to debate the issue with people who believe in “traditional casting”, and thus believe that I should never play this or any role from the pre-civil rights Musical Theatre canon.
The director and choreographer were wonderful. The theatre was gorgeous with wonderful staff. The entire production went off without a hitch. It was amazing. I mean how could it be anything but with a cast that included Matt Hydzik (West Side Story) Amanda Rose (Wicked) Marcus Paul James (Rent) Leo Ash Evens (too numerous to mention) and Montego Glover (Memphis) as my “Ado Annie”: All great talents and all incredible people as well.
The audiences loved us; they do tend to love the classics. No one noticed or even inquired into the casting choices for “Ado Annie” and “Will Parker”. The theatre didn’t even feel the need to acknowledge the casting choices by putting any kind of statement in the program. There was one thing the director was apprehensive about and not even an eyebrow was raised on the subject. The character of “Andrew Carnes”, Ado Annie’s father, was unapologetically white.
In the production of Oklahoma reviewed by Gillian Gaar, I bet not one person other than her even cared that Jud was African-American. Ms. Gaar may think of this casting as “modern touches”, but this it sounds all too antiquated and familiar, dare I say “traditional”. The character is a dirty farm hand, with little to no education. The character is menacing. The character is misunderstood and he’s socially ostracized. Casting Jud as African-American is an easy out dressed up to look like progressiveness.
Unless the story or characters are racially motivated in some way, audiences don’t care who the actors on stage are and neither should the producers or directors or choreographers or reviewers. Some of my “colleagues” argue with points for casting Les Miserable, for example with: “there were no black people in France back then”. Okay. Maybe. But do people walk down the street singing and dancing, waving flags on portable turntables? No. (Okay maybe actors…I know I do). It’s Musical Theatre. If the show is not written to concern itself with “historical records” then that aspect should not matter. All that does matters is if the actors are good, the action and songs engaging, and the entire show well executed. Then everyone wins.
A good friend of mine, Chad, Facebooked me. He was thinking about attending an audition. Since he was going to have to travel some distance for it, he wanted to know if there was a chance he could get cast. He knew I had done the show and asked if there was anything in it for him. Chad is white. The show is Dreamgirls. I told him that ‘traditionally’ the show is cast all ethnic with one role for a white guy. I also told him that he should go to the audition regardless. Then he could experience what it’s like for ethnic actors at almost every audition.
Chad isn’t one of them, but some actors who fall into the “traditional” category are unaware of the fact that the ethnic actors are not being adequately represented in theatrical productions. They tend to point out that every show on Broadway has ethnic people in the cast. I point out that it’s usually one or two...in the chorus (unless a large African-American woman needs to “wail”)... and who usually partner each other.
This means that for every 10 chorus boys in a show, only one of them may be cast ethnically. While non-ethnics have a one in nine chance of being cast, ethnics have like a one in one tenth chance. This sole chance to be cast is usually shared by all the possible ethnic groups, which include the darker Jewish and Italians.
This is called “non-traditional casting”.
Perhaps that’s the whole problem; the phrase “non-traditional casting”. It has destructive, negative connotations integrated into it from a darker unenlightened time in our history. (Yes. I meant to say “integrated” and “darker”). Perhaps a phrase with more positive and empowering connotations could be put into play.
I propose changing both phrases of “traditional casting” and “non-traditional casting” to one phrase: “Creative Casting”. Even the sound of the words “Creative Casting” is more positive and inclusive. It gives everyone, producers, directors, theatres and actors, the license to breathe a whole new life into a piece, instead of re-making what’s been made before under strict legal guidelines and threat of death. The next generation of performers could then see themselves up there on stage, not just in new ethno-centric works, but also in the Classics. No matter what their ethnicity, the next generation should be allowed to dream of creating all aspects of our art form.
While growing up I didn’t see anyone of my complexion in the performing arts, and mostly that’s because I wasn’t taught to see such things. What I did see in theatre was this amazing thing being done by amazing people. I saw freedom and abandon. The Business has taught me to see color, and weight and age and so many other things as negatives, deterrents.
Now as an adult, what I do as a performer, like playing “Will Parker” in Oklahoma, falls into the realm of “Creative Casting”. I breathe new life into characters not necessarily played by the “looks” of me. I’m grateful for all those producers, directors and theatres that can and will see me as an actor first and foremost and not as the sum total of the melanin in my skin.
I think it’s time to put the whole notion of “traditional” and “non-traditional” casting to bed. Let it lay with the likes of segregation, Jim Crow laws and social inequality as part of our History but not our future. The Business of show, as a whole could take a clue from the journey “Tevye” makes in another classic show that I long to do but have yet to find the opportunity, Fiddler on the Roof.
Perhaps it’s time to make new “Traditions”.
