Download Casting Policy - University of Utah Theatre

Color-Conscious Casting Policy
Department of Theatre
Draft
February 17, 2016
The University of Utah's Department of Theatre enforces a color- and gender-conscious
casting policy. We do so because we wish to allow for as much flexibility as possible
during the educational journey of our students. However, because we share the belief
that the respectful presentation of underrepresented minorities and stories onstage is
important, we will always work diligently to cast actors of the appropriate race, ethnicity,
or gender identity when a script requires us to do so. In addition, if we do not have the
constituency to cast a show appropriately from our student population, we will open our
casting pool to community members of the necessary constituency. If all attempts to
cast the role appropriately fail, then we will open a conversation with the Department at
large to address the situation. The results of such conversations may include (but are
not limited to) anything from seeking permission from the copyright holder to enact
alternative casting to cancelling the production.
What is “color-conscious casting”? "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. Without it, we risk perpetuating a system that privileges whiteness with
greater access and opportunity, and appropriates the cultures of communities of color."
Teresa Eyring, “Standing Up for Playwrights and Against ‘Colorblind’ Casting,”
American Theatre, January 7, 2016.
Color-Conscious Casting Policy
Department of Theatre
Draft
February 17, 2016
FROM THE EXECUTIVE DIRECTOR | JANUARY 2016 JANUARY 7, 2016
Standing Up for Playwrights and Against
‘Colorblind’ Casting
In light of recent controversies over plays by Katori Hall and Lloyd Suh, it’s
clear that theatre needs a color-conscious casting approach.
BY TERESA EYRING
Last November, we witnessed two troubling examples of university productions
disrespecting a playwright’s intent in regard to casting. 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. 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. Diep Tran’s article on AmericanTheatre.org (“On the
Rights of Playwrights and White Tears”) provides further context to events that have
ignited both productive debate and reprehensible personal attacks.
While aspects of these issues are complex, there are a few core principles worthy of
unambiguous defense. The first principle is the creative control of the playwright over
critical aspects of their work. 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 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. 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. In addition, appropriating the identities of communities of
color has historically reinforced racial stereotypes and subjugation. 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. 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.
Color-Conscious Casting Policy
Department of Theatre
Draft
February 17, 2016
What’s required now is a color-conscious, not colorblind, casting approach. Colorconscious 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. Without it, we risk
perpetuating a system that privileges whiteness with greater access and opportunity,
and appropriates the cultures of communities of color.
Yes, this can be a complex and nuanced discussion. Yes, we enter into those
discussions with different perspectives and familiarity with the issues. Yes, the
missions of educational institutions are different from those of professional theatres. 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.
The third principle is that no individual, regardless of their stance on these issues,
deserves to be singled out for harassment and threats. Unfortunately, we’re seeing an
increase in aggressively hostile rhetoric directed toward people of color who take a
stand on these issues. There is a place for respectful disagreement and thoughtful
debate—we need more conversation that leads to action, not less. But when debate is
replaced by a parade of online insults from strangers, it’s clear we’ve crossed the line
from debate to hate—and our community should not be willing to tolerate these
deliberate attempts to silence and threaten artists of color. We oppose all attempts to
silence and diminish these artists who have bravely taken a stand for equity and the
rights of playwrights. We stand with Lloyd, Katori, and all advocates for racial
justice.