I teach in a very diverse school. Nearly 30% each Black, latinX, and white (nearly half the whites are Jewish) and a growing Middle-Eastern population and a decent percentage of Asian students as well. That said, I avoid play that are about race. It dictates the casting. Hairspray, fences, etc. great plays, but the actor really must be cast appropriately to the race of the character. However I use selections from these in classes all the time.
Instead I choose plays and musicals for the main stage which allow me to cast racially blind. In our current production of Arsenic and Old Lace, one of the aunts is Black, the other white. Of the nephews, we have one white, one Black, and one Asian. Perhaps the first Asian Roosevelt.
Earlier this year we did Annie. Rooster and Grace were redheads, Annie Greek, Hannigan and Bert Healy were Black.
The point is this, I cast the best actor for the part regardless of race or gender. Romeo was a girl, Juliet was Asian. It was not a Lesbian or mixed relationship statement, they were simply the best actors for the parts of those who auditioned.
By choosing shows which are not about or dependent on race, I can cast students as best befits their talents.
But sometimes we want to do a classic like Anything Goes. Reno was Black. No problem. It’s the comic relief characters of the Chinese gamblers. I loathe their portrayal in the script. I had two Chinese girls in the cast, one was an Angel, the other in the chorus. I had two white girls play the Chinese men. In had the Chinese cast members work with them on pronunciation and helping costuming to assure authenticity in the outfits. I then had a student make a statement as part of the curtain speech explaining our separation from the views shown by the portrayal of the characters and how the show selection was about the music and not about race.
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Scott Hasbrouck
George Washington HS
Denver, CO
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Original Message:
Sent: 04-20-2018
From: Cassandra Buescher
Subject: Negotiating Racial Stereotypes
Hello! I am an undergrad majoring in Theatre Education at Ball State University, and I am curious about something. In one of my classes, we discussed the use of racial stereotypes and cultural appropriation in theatre, not that anyone would do these things voluntarily but because they are written into plays. So, I am curious how theatre educators can go about avoiding racial stereotypes or cultural appropriation and still do shows like Thoroughly Modern Millie (actress in yellow face) or Annie Get Your Gun (appropriation of Native American culture)? I would appreciate any insight on this matter.
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Cassandra Buescher
Muncie, IN
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