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When I became eligible for Actor’s Equity I was really excited. First because the chances of me actually being seen at an equity call greatly increased. Secondly at the bottom of Equity casting notices were the words “Performers of all ethnic and racial backgrounds are encouraged to attend”. I thought, finally I would be seriously considered for roles that were right for my particular talent regardless of the fact that I was an “ethnic” performer. I went to every audition my day job allowed me to go to.

So young. So bright and shiny.

Last October I had the honor of having my first writing project, a full length musical, picked to be in a new works festival here in New York City. McGurk’s Suicide Hall, a fictional account of actual events was made with the help of many people including my composer Jeneen Terrana, an independent internationally known recording artist. We had to take care of many of the aspects of putting the show on its feet, including casting.

Before October I had had two table readings of the show. I thought it an excellent idea to invite some of those people to participate in the new works festival production. Since several of the readers were Equity, we had to provide an Equity contract in order for them to be in the show. Doing so doubled the production budget. I was determined to “reward”, if you will, those people who were so loving to lend their time and talents in developing the piece.

Reward is in quotation marks because the contract was only on a staged reading level, which pays a small stipend and transportation.

Since it was going to be an Equity contract, I decided to offer roles to other union friends and colleagues to fill out the cast. Because of who I am and my beliefs, I had made the cast completely interracial. Sometimes there was a reason for it, sometimes there wasn’t. As the writer I super imposed the racial landscape of New York City, where the show is set, on to the production. As the writer I am Lord God High Creator of the Universe and my word is law.

So shall it be written, so shall it be done.

In pursuing my multi-ethnic cast I invited my colleague Bill to be in the show. Although I only knew him from my day job, I had seen his work on YouTube and his website. He seemed smart intelligent and talented. He was perfect for one of the ensemble members who had both ethnic and non-ethnic featured moments in the piece, the biggest being a non-ethnic role with a song.

Bill happily agreed to be in the production, until three weeks before hand. Suddenly he had a plethora of obligations that wouldn’t allow him to be involved. I would later learn that these were just excuses. (More on that in another blog). The role specifically written for an ethnic actor was now available. It was added to the list of what we were auditioning for.

The audition notice came out two weeks before rehearsals were to begin. We posted the roles available and who (ethnically speaking) we were looking to fill those roles. There was a good response, including ethnic candidates for most roles, even those not specifically suggesting ethnicity. However when the audition day came around no ethnic men showed up. Not one of the ethnic guys given appointments bothered to come to the audition. (I single out the ethnic guys because that’s who we’re talking about right now. There were plenty of non-ethnic people who didn’t bother to show up as well).

Fortunately for us we got the talent needed to put up the show.

Because of the contract we had, we were only allotted 10 rehearsal hours. Anything over that would double the actor’s salary, which we couldn’t afford. Once rehearsals started those hours flew by. Three hours for music, three for staging and four for tech rehearsal.

It wasn’t until the tech rehearsal that an over site was pointed out. The role offered to Bill, designed for a specific ethnicity with dialogue written in an ethnic voice, was cast with a non-ethnic man. However it was too late. At that point we had no choice but to just barrel through using the guy who was cast. It was offensive but there was no time for rewrites or cuts. I prayed to the Theatre Gods that no one at this level would notice or care.

More and more often some in the performing arts community are up in arms about general casting policies. They state that in casting roles the “default” is “white” especially when there is no discernable ethnicity written.  This default and lack of inclusion and opportunity had Hollywood names boycotting the Oscars this year.  Marriott Theatre in Lincolnshire is under fire for the lack of Hispanics performers in their production of Evita. 

Whenever a theatre or production company is called out on the issue, there is a standard answer. “There were no qualified ethnic actors who attended the audition”. And at times the retort is worse and more unbelievable. “There were no ethnic actors at all who auditioned”.

Based on my small casting experiences I would have to believe in a majority of the cases that is indeed the truth. There I was an ethnic writer/director/performer, who included a wide range of ethnicities in his writing, actively searching for ethnic actors to employ. The result was I wasn’t able to fully cast the show as it was written. I know this was partially due to the type of contract that was being offered and the short length of work with no health or pension benefits. But that’s only for now. What happens when the show continues on? Starts getting better and better contracts? Will ethnic actors suddenly appear?

I also know the lack of response is partially due to the fact that the printed encouragement given to ethnic actors is seen as legal lip service to avoid court battles over discrimination. In fact at this very moment the Broadway mega-hit Hamilton is potentially being sued because of the lack of inclusive language in their audition notices. Although for this show it’s in reverse; lack of inclusion of white actors.

Ethnic actors know what this type of inclusive language is: hollow promises. So ethnic actors tend to shy away from auditioning for non-ethnic shows. Why show up to an audition if you are not going to be genuinely considered? Which is a conundrum because ethnic actors want to be genuinely considered, but can’t sometimes because they don’t show up.

Fortunately at the performance of “McGurk’s”, a director and personal friend of mine noticed my lack of inclusion. And he called me out on it. In his review of the staged reading he said:

It was offensive to have a non-ethnic person play a stereotype of an ethnicity. Given what I know about your stance on casting policies that shouldn’t have happened. If you can’t find the proper ethnicity, change the part or cut it.

He wasn’t being nasty about it. He was right. He was 100% right. And it made me happy.

The director, a former performer, is the default musical theatre casting choice: tall, handsome, fit and blonde. He being talented is just the icing on the cake. He noticed a huge issue in the casting of a role so much so he had to say something about it. What that means to me is that he’d been actively listening to my diatribes on casting policies. My ranting and raving impacted him. I choose to believe this up and coming director, who now has several pieces doing well in the festival circuits, has altered his thinking about his own casting policies, because of his association with me and discussions we've had on the subject.

I’m constantly involved in a myriad of conversations in person and on social media regarding casting issues. There are vast majorities of people, both ethnic and non, who have recognized the antiquated casting practices that are still in use today. These advocates are starting dialogues, arguments and legal proceedings over who is cast and why. Friendships have been lost and bonds formed because of it. 

In essence battle lines are being drawn.

However waging a war where one side doesn’t show up to the daily skirmishes and struggles is pointless. The other side wins. In our case, in the Performing Arts, the daily skirmishes are auditions. That’s where we need to fight for the right to fly our colors (Pun intended? I don’t know).

“Performers of all ethnic and racial backgrounds are encouraged to attend”. 

So attend.

If your talent is right for the show go to the audition. Be mindful of who is being cast but be present at the audition regardless of it. Is it disheartening at times? Yes. Is it defeatist at times? Sure. Is it utterly pointless at times? Hell yeah. But the people behind the tables and at their computers and writing the checks need to know that there is a cornucopia of marginalized actors out there of all types, shapes, sizes, ethnicities, hues and sexual identities who are talented and wanting to work.

And these actors can tell the story just as well as the “default” choices.

Look at Hamilton...

“...You want a revolution? I want a revelation.”