What has become a disturbing trend among high schools, is finding ways to take the cost of theatre productions out of school budgets and pass them on to students and their families. 

Whether it's "pay-to-play" policies or just eliminating it from the budget altogether, schools are constantly looking to make theatre productions cheaper or not do them at all. 

Oh, the unglamorous life of an actor. The shit we go through and the crazy-ass roles we get sent in for and sometimes book. Also, the sexist and racist roles in Hollywood absolutely make me ask this question day in and day out. Why? 

My friend Lynne Marie Rosenberg has started a revolution of sorts called Cast and Loose. It started off as a Tumblr page and has grown into something so much more. 

Let's put the "those who can't do, review" idea to rest
 
Over the years, reviewing theater at all levels, I have encountered the oft-repeated mantra that "those who can't do, review." Rarely invoked by an individual responding to a review with which they've agreed, it has a way of dismissing the reviewer's opinion by implying that he or she doesn't really know what they're talking about. In my experience, though it happens, this is rarely the case, and I always find the quote to be offensive.

Part of the curriculum at the conservatory I am currently attending includes an improv class that everyone is required to take during the summer semester.

When I had read that, I was terrified.

I have been afraid of improv for years. I love watching it. I think being able to think on the spot and create art is beautiful, powerful, and brave. For me, it was taking part in improv that was frightening.

I started to wonder why in 2017, it is still such a struggle for performers of color (POC) to be cast on major stages. With the high profile shows of Hamilton casting the majority of their actors specifically and intentionally with POC, and with large Asian casts in the formerly running The King and I and currently running Miss Saigon, it appears as if the general landscape of casts on the stage has changed. This is misleading.  This is not to say that Hamilton has not opened doors for actors and audiences as well, but the casting of Hamilton has not changed how other shows are cast. In addition, the roles for predominantly Asian casts often perpetuate negative stereotypes. In short, the numbers for POC in Broadway shows have gone up in the last couple of years, but mainly due to The King and I and Miss Saigon. The problem of real diversity on stage still exists.

Much has been made now of David Mamet’s displeasure with the Outvisible Theatre Company in Detroit, and their desire to hold a talkback of Oleanna following their production of it. He even threatened to issue a $25,000 fine on such theaters who attempt to stage any sort of post-show discussion of his work. Awhile ago, our Editor-in-Chief – Chris Peterson – wrote extensively on this site questioning the merits of this decision, and months later, it’s a topic that other playwrights – as well as other news outlets such as the Guardian – are still debating and discussing.

It's safe to say that one issue this blog has been consistent on throughout the years is that when dealing with roles of color, those roles must be cast racially correct. 

Whether it's authorial intent or the fact that the character identifies themselves as a certain race, those are choices that must be respected and followed, unless permission is granted otherwise. 

However what I have been seeing over and over again is that when a local theatre can't seem to find the performers of color (POC's) they need, somehow replacing them with a white actor "made up" to resemble that race, is the next best option.

At the time in which I am writing this column, we are now around the time of the season in which many local theatre productions have just opened, or perhaps are approaching opening night within the next week or so. As always, there tends to be a mixture of both excitement and anxiety among all those involved. I know I’m not alone when I say that I’ve have experienced these feelings in the lead-up to shows, on many occasions.

One of the Artistic Director’s challenges at any theater company is navigating the choppy waters of selecting a season of productions.  There are so many variables to juggle that, in the end, the choices can almost seem arbitrary.  But of course nothing that takes so much time and research and consideration and negotiation can be arbitrary.  Budgets aside, it is really all about who we are trying to please, including ourselves.

Soulpepper on 42nd Street is Soulpepper's US debut - a Festival of 12 Canadian productions, including original concerts. From July 1-29, the company is programming the entire Pershing Square Signature Center on 42nd St in New York, just off-Broadway. 

Onstage Blog Canadian Contributor Damon Jang had a chance to attend Opening Night on Canada 150 on July 1st during his vacation in New York. Here is some facts about Soulpepper and the festival.