Tag Archives: directing

My Book Is Out!

AudRevBooks

This image is shamelessly heisted from the TCG website. Link below.

And by “my book is out,” I mean Caridad Svich‘s book is out. The ever-brilliant (srsly) Svich has released a collection of essays for TCG entitled Audience (R)Evolution: Dispatches from the Field. In addition to one by yours truly called “The Lies We Tell About Audience Engagement,” it contains essays by Larissa Fasthorse, Richard Montoya, Itamar MosesJules Odendahl-James, Sylvan Oswald, Bill Rauch, Lisa D’Amour, Roberto G. Varea, Callie Kimball, Carlton Turner, and Svich herself, among many others.

Order your copy here!

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The Sexism in our Non-Sexist Industry

The theatre community prides itself on its left-leaning culture, openness to diversity, and acceptance of difference. Yet we have constant problems with gender parity. Women are underrepresented in every area of our industry apart from the indie scene, often dramatically. There are so many studies and think pieces about this, I’m not going to bother choosing any one to link to– we’ve all read them.

Although we consider ourselves “not sexist,” we’re still unwittingly *saying and doing things that are sexist*. Sexism (and racism, and ableism, and etc) are actions and words as well as thoughts and attitudes. In 2016, we’re not seeing “No woman can direct a man with proper authority” and the like, but we’re all still dealing with the sexism pervasive in our culture, and it impacts our actions through unconscious bias. Unconscious bias is why people who are committed feminists are still sometimes making decisions motivated by sexism (and racism, and transphobia, etc).

And while this applies without question to women who have internalized the sexism inherent in our culture and its many systems and structures, often what we, as women, are struggling with in this industry are the unconscious biases of men.

“She’s perfect for the role!” When I cast something with straight male input, I often find myself struggling to make him understand that the woman with whom he is most taken is not actually the best actor or right for the role. Because our culture has rigid, oppressive strictures about what constitutes “attractive,” most often that woman is young, European-American, thin, able-bodied, and traditionally “pretty.” I often find myself struggling to make him understand that a woman less physically attractive to him is much more skilled, or closer to the center of the role. Here’s what I hear men say about the woman they’re attracted to: “She has a certain quality that just pulls the eye”; “She has the right look”; “She has so much presence”; “She has something; I just can’t put my finger on it, but it’s there”; “I think her acting drawbacks would actually be strengths in this role.” Here’s what I hear men say about the woman they’re less attracted to: “I just can’t see her in the role”; “She’s just not as interesting to watch”; “She lacks presence”; “I don’t believe her”; “I don’t think the audience will accept her as a romantic lead.” Or he’ll suddenly decide that the *crucial qualities* he insisted the woman to whom he’s attracted would bring to the role are *massive, problematic drawbacks* when embodied in a woman less attractive to him. Or he “just can’t see” the traditionally “pretty” woman’s massive comic skills.

To be clear, this isn’t universal. I shouldn’t even have to say it by this point, but #notallmen. However, if a director’s every lead looks the same (for example, thin, European-American, and blonde), that director should probably have a seat and take a think on it. Remember that acting on an unexamined sexist bias in casting doesn’t make you a terrible person, or even “a sexist.” We’re all struggling with finding and eliminating our unconscious biases. We could all benefit from looking carefully at our attitudes and casting habits and interrogating our decisions fearlessly, and not just about women, but about gender nonconforming people, race, ability, size, etc.

“I don’t understand this play. It’s not for me.” Straight European-American men make up less than a third of the US population– a definite minority. Yet the stories of straight European-American men are considered “neutral”– stories for everyone, universal. A play starring a straight European-American man, written by a straight European-American man, is never considered to be coming from a particular, unique point of view– it’s never about being straight and European-American. It’s about, for example, overcoming loss, or reconciling with family, or forgiveness and healing. The social positionality of the work fades into the background as irrelevant– “universal.” However, work by and featuring women, people of color, disabled people, gender nonconforming people, is marked by its distance from the straight European-American male “universal.” It’s a “Black play” or a “woman’s play.”

Because we posit the straight European-American male experience as “universal,” we never expect straight European-American men to translate– to find ways to see the work of people unlike them as relevant to them– because we define that work by its distance from them. Yet they expect without question for everyone to automatically translate work from a European-American male perspective, both seeing and relating to the “universal” message inside. When you’re sitting in a season planning meeting or a development meeting, and the European-American men around you claim they “don’t understand” a play or that a play is “not for them,” but they fully expect you as a woman and/or person of color to relate to stories from a European-American male perspective because they’re “universal,” you’re seeing unconscious bias in action.

There’s an easy way to tell if the play is actually incomprehensible or if men on the team are just refusing to translate, and that’s to see whether opinions of the play are divided by gender. Repeat as necessary for race, ability, sexuality, etc. Part of privilege is that the world pretends the privileged experience is universal. Part of fighting systemic injustice is actively working to learn how to translate.

When you’re ready to toss aside a play as “not for everyone,” “not universally appealing,” or “for women,”  take a second and think: “Am I just refusing to translate?”

“I’m all for diversity. . . I have a Black female intern!” If you’re a European-American man who is proposing that diversity be a key consideration for every position but your own, I see you. Let’s focus on hiring actors, directors, designers, techs, and/or playwrights who are women or people of color, you say, and we all rightfully applaud. Except the European-American men in positions of power and gatekeeping at those theatres retain every scrap of their power, and the fact that theatres over a certain size in this county are almost exclusively run by European-American men does not change. Too often “diversity” means “we hired some Black people” or “one director is a woman.” We have diversity without equity, because the decision makers and gatekeepers preserve that power for the privileged.

Theatres, almost every single time you’re looking for a new Artistic Director, you hire a man. It’s so pervasive I’m finding myself involuntarily assuming that every decision is rooted in sexism, assuming the man was hired because he was a man. I find that thought popping into my head even when I know better, even when I personally know and respect the man and would hire him myself. I wonder which women they refused to seriously consider. I look at so many young women with so much promise, and it breaks my heart thinking they’ll have to watch man after man they hired and trained be promoted over them.

There’s a lock on the boys’ club of artistic leadership, and current artistic leadership, including boards, holds the key. A few festivals of plays by women, or giving a Black woman an internship, is not bringing meaningful change. Put women and people of color on your boards. Hire women and people of color for positions of power. Remember that Black female intern when a position of artistic leadership becomes available. Until then, you’re making me wonder if you’re not just trying to quell dissent to shore up your own cultural and professional power by committing to diversity without committing to equity.

“I would love to hire more women. I just can’t find any.” The indie scene is dominated by women and people of color. What I don’t understand is why those women and people of color seem to fade to invisibility when larger theatres dip into the indie community to look for new talent, bringing up European-American men with far more frequency, and at far earlier stages of their careers, than women and people of color. I’ve run an indie theatre for 20 years, and I’ve seen it happen over and over and over. What makes you look at a young European-American man with very little experience and see “promise” but look at a young woman of color with more experience and see “she’s not ready”? Keep your eyes on the local scene, wherever you are, and make an effort to seek out women and people of color. Wherever you are on the budget spectrum, there’s someone working at the level “below” you that you can bring up, and every time you bring someone up, you’re putting them into the pipeline that ends at LORT and Broadway jobs. Be conscious of whom you’re putting into that pipeline– think about to whom you’re giving opportunities. Are you hiring with gender parity? Are you hiring people of color? Or are you hiring 84% European-American men?

Fighting for social justice means fighting your unconscious bias all day, every day. It means continually examining your opinions and motivations. There’s no finish line where the crowd screams in envious joy as Rebecca Solnit and Michelle Obama pour gatorade on your head and hand you a NOT SEXIST trophy. This takes work. It’s OK to fail at it and keep trying. Just please keep trying.

 

 

 

 

 

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How We Stop Abuse in Theatre

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The initial response to the devastating exposé of the abuse at celebrated Chicago theatre Profiles Theatre was swift and decisive: we were all appalled. Nearly everyone in the industry decried the abuse in no uncertain terms. We were appalled that a theatre would continue to allow such actions, even from a founding member and a widely respected (and lauded) artist like Darrell Cox. “How could this happen?” we asked ourselves. “Not in our house,” we repeated, echoing the Chicago group bravely attempting to stem abuse in Chicago theatre.

And then, because we were not the ones accused, we went about our business, which includes hiring abusers and making excuses for them.

When I posted the story on social media in June, I wrote that I would stand by anyone in the Bay Area who needed someone to stand with them. A number of people contacted me privately to share their stories. Not one was willing to come forward publicly for fear of retaliation and public scorn. A few refused to name their abusers, instead providing me with leading clues like, “won X award X year” or “directed a lot of [playwright] during [years].” One mentioned that she initially wanted to file a report to AEA, but was cautioned against it by other women– fear the consequences, she was told. For good reason– our culture is unkind, to say the least, to women who publicly speak out about their abuse, especially at the hands of powerful men. Our first impulse is to call her a liar, out for personal gain. As if anything could be gained that way but scorn, trauma, pain.

I thought long and hard about what to do with these stories. I won’t make public accusations because these aren’t my stories to tell, and I will not violate the consent of these people who bravely shared their stories with me. But I will take this knowledge and create a primer for fellow Artistic Directors and others in positions of power– including board members– at theatres to give them a clear picture of where we have failed our people over the years and how we can do better in the future. I will not name names. But I can point to where we went wrong.

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1. Make sure that everyone working in your theatre understands that you have a zero tolerance policy for abuse. I never did this, trusting to our “culture of respect,” and I count it as one of my worst failures as an Artistic Director. Openly state your zero tolerance policy while clearly defining “abuse” and clearly stating consequences. Not in Our House (linked above) is developing a Code of Conduct for non-AEA theatres that they are allowing others to access online, but not to adopt unless they are a designated pilot theatre. They hope to release adoption in 2017. Until that time, it’s a great document to use as a model to create your own basic set of rules. While we cannot yet adopt their code, I feel strongly that we in the indie theatre community cannot continue to run with *zero* code of conduct. If you’re an AEA theatre, do not assume that everyone on your team knows and understands AEA rules of conduct. Make sure everyone knows what you expect, and what you will not tolerate. THEN ENFORCE IT.

2. When people come to you with stories of abuse, complaints that someone is making them uncomfortable, complaints that someone is not respecting their boundaries, LISTEN TO THEM and BELIEVE THEM. Quietly take other members of the team aside and talk to them to get a clearer picture about what’s happening if necessary, but believe me, very few take the risk to come forward without good reason. Then enforce your zero tolerance policy with its clearly stated consequences. Do not protect abusers, minimize abuse, or sweep it under the rug.

3. Pay close attention to the behavior of the people you have on staff. People will not always be brave enough to come forward about bad behavior. Sometimes people gaslight victims by claiming that the abuse is “just the way he is,” “not a big deal,” or “just because he’s a genius and passionate about his work.” Victims begin to second-guess themselves and worry about the consequences of coming forward when others are minimizing or excusing bad behavior. There could easily be problems, even abuse, in your house without anyone coming forward to tell you about them directly. We must be proactive. Think: Has any director in your theatre ever berated an actress in rehearsal until she cried? Has any director in your theatre insisted they could block a fight themselves, despite their lack of training and/or certification, putting your actors at risk? Has anyone in your company publicly derided the work of others on the project as “stupid,” “worthless,” or “idiotic”? Has a choreographer ever told an actor in rehearsal they were “talentless” or “useless”? Has anyone on your team made a racist, antisemitic, sexist, transphobic, ableist, or otherwise bigoted joke? Has a production photographer joked publicly that he was only planning to take pictures of the scantily-clad young actresses in your show? Does someone in a position of power at your company proposition young actors, start affairs with them while they’re under contract, single them out and flirt with them during rehearsal? Has someone in your company threatened to dock someone’s pay for refusing to do something that’s outside the scope of their contract? Has anyone in your company violated any contract (for example, used someone else’s writing or fight choreography without permission) and insisted that others maintain secrecy? Pay attention and nip that behavior in the bud.

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4. Stop hiring “geniuses.” As I say above, “he’s a genius and just passionate about his work” has long been used to excuse abusive behavior. We’ve created a mythology around the “auteur” whose passion is so great that he “can’t help” flying into rages, berating people who “aren’t on his level” or who don’t give him exactly what he wants (as it changes from day to day or he fails to be clear about it). Sometimes his affairs with young actors in the show are part of his “passionate” persona. He just can’t help himself! He makes unreasonable demands and insists others work around the clock to satisfy them. When his work is racist or sexist, lavish excuses are made for it. It’s “brave,” “daring,” or “honest.” Asshole “auteurs” are not cute. They are assholes. And more often than not in this collaborative art form, the work suffers for it. No one is doing their best work when their goal is to keep someone from screaming at them. Make “respectful” a more important quality in an artist than “mad genius.” And while I’m using the male pronoun here because the “auteur” mythology is largely white and male, these people come in all types. Stop hiring “geniuses.”

5. Stop perpetuating the mythology that anything should be tolerated because “the show must go on.” This is, in part, a corollary to #4 because it’s trotted out as an excuse for the behavior of the asshole “auteur.” “We just need to get the show up” is a fact, but you don’t “just need to get the show up” at the expense of the health and safety of the people working on it. Your “auteur” does not actually need to behave like a jackass, and only does so because it’s tolerated. You don’t actually need to hold people after the stated end of rehearsal. You don’t actually need to brush off the very real concerns of your actors about working without a fight director. You don’t actually need to brush off the concerns of your actresses about an actor creeping on them backstage. There is always a choice.

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I understand these conversations are difficult to have. I understand your “genius” has been a member of your company, or its AD, for years, and contributed wonderful things to it. Perhaps your “genius” is even a founding member, like Darrell Cox, or a personal friend. I understand that your “genius” makes your theatre money and wins it awards, again, like Darrell Cox. I understand that you believe the ends justify the means, because the livelihoods of others are dependent upon the success of your theatre, and that’s a real, palpable burden. I understand that your “genius” likely believes his behavior is totally justified, and will be resentful and angry if called out. I understand– believe me I understand– that even people who aren’t protected by a “genius” status are protected by the fact that you believe you will be screwed without the work they’re doing for your company.

But you do not need to tolerate this behavior. It may be as simple as laying down the law with someone and being clear about what you will not tolerate. It may be that this person refuses to address their behavior, and they need to be let go before they demolish your mission, your reputation, and your company.

You do not need to keep hiring these people. For every “genius” you hire repeatedly despite known bad behavior or even known abuse there are five overlooked artists who are wonderful to work with.There’s no reason to tolerate this behavior.

I have made errors in my career because I believed I “had no choice,” but I did. There is always a choice. And I will carry the shame of those decisions until my dying day. I remember the names of every person I failed to protect, either because I believed wrongly that I had no choice, or because I was ignorant of what was happening in my own house (which is just as much my fault, because if someone wasn’t coming to me, or if I failed to see something, that’s on me). It’s a weight I wouldn’t wish on my worst enemy.

As long as we continue to protect, excuse, and ignore bad behavior, it will continue to happen. As long as we continue to reward bad behavior and even abuse with future employment, prestigious awards, and coveted positions, we’re plainly stating to our community that our people are worthless to us; that people (especially white men) in powerful positions are untouchable; that speaking out will be ignored or punished; that there’s nothing that can stop the abuse.

But there is. WE CAN STOP IT by refusing to continue tolerating this behavior. By refusing to continue protecting and rewarding abusers. By refusing to continue pretending that the bad behavior of “geniuses” isn’t abuse but “passion.”

WE CAN STOP IT. It’s our choice.

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The Oscars: As Silly and Useless as Ever, and Yet Crucially Important

The Oscars are nonsense. They’re Hollywood’s Homecoming Queen elections, as insular, as clique-ish, and as disconnected from any actual merit as any Homecoming election in any rich white high school. Rich white people congratulating each other for the kinds of achievements attainable only by people sitting atop an obscene amount of money– their own or someone else’s. They ask you to believe that the actual best acting, best directing, best editing, and best design of the year just always happen to be located in the one narrow strip of filmmaking that (entirely coincidentally!) has the most funding.

So the Oscars are more or less the Tonys of the filmworld– limited to a very narrow strip of exceptionally well-funded work while we all pretend the awards somehow represent the best of the nation’s work as a whole.

Most of the artists who receive Oscars or Tonys did a fine, in many cases excellent, job. I begrudge them nothing and honestly wish them nothing but the best. But it’s important to remember that we don’t give awards for the “best” work in theatre or film because we don’t even consider most work, and, most importantly, there’s no objective way to measure whose artistry is “the best” once you’ve eliminated some of the obvious worst– and, let’s face it, when it comes to Oscars for acting, even that’s seldom done.

We give these kinds of awards based on how an artist makes us feel; generally, how an artist makes us feel about ourselves. There’s an old saying: “When the audience cries, it’s not about you; it’s about them.” The people who vote for these awards are no different.

Despite the fact that these awards are meaningless as measures of artistic merit, they contain an immense cultural value. A great deal of that stems from the narrative of artistic supremacy created by Broadway and Hollywood. There are an entrenched group of extremely wealthy and powerful people whose fortunes depend on you continuing to believe that Broadway and/or Hollywood represent the pinnacle of American performative art. They’ve built and expertly marketed a superstructure of dreams and wishes that will make people who’ve never worked in either Broadway or Hollywood defend their artistic supremacy as if they’re defending their own children. I actually admire the way Broadway and Hollywood have controlled that narrative. There’s a terrible beauty to that level of cultural manipulation.

An immense part of that narrative of supremacy is rooted in the cultural supremacy that comes from cultural saturation, something only money can buy. A film like Fifty Shades of Grey–a film of questionable merit on many fronts— had the financial backing to play in theatres all across the country (and the world, but our cultural exports are a story for another blog), saturate the market with advertising, and command enormous press attention, garnering $166 million at the box office ($570.5 globally) and a basket of award nominations for The Weeknd for Best Original Song (Oscars and Golden Globes among them), while literally hundreds of much better films lacked the financial backing to receive such culturally potent– and lucrative– attention. Fifty Shades of Grey becomes, therefore, a permanent part of our culture, attaining a position of influence unrelated to merit, created by the wealth of its backers. People in the BDSM community were largely aghast at the misconceptions about themselves and their lives now lodged like a tick into the national consciousness. Now people who have never met anyone in the BDSM community “know” what “those people” are like, will make decisions about “those people” based on that. The power of cultural saturation coupled with the myth of artistic supremacy is immense. Everyone sees X + X comes from an “important” source = X is truth, even when X is demonstrable bullshit.

This is why, despite the fact that I will laugh in your face if you tell me the Oscars have artistic meaning, I think it’s crucial that we look closely at the messages we’re sending when we shut people of color out of those awards, because those messages have immense power in the real world.

First of all, do not bother to comment that a number of people of color were nominated for the Oscars this year, including Best Director and Best Original Song, mentioned above. I know many people who work behind the camera, and I am keenly aware that the current discourse is limited to the actor awards. It irritates me that tech people, directors, designers, and writers are so easily disregarded, and that the work of actors is regarded as so much more important in a medium where the work of the actor is actually of far less import than the underscoring, cinematography, and editing. The cultural primacy of the film actor exists, whether I like it or not. There’s a culturally important mythology around film actors that just doesn’t exist for most of us behind the camera. They are our mythological figures– our Achilles, our Ajax, our Helen, even our Artemis, Athena, Hermes, Apollo. We create unending mythology about them and their lives. The mythological Jennifer Lawrence is a combination of Artemis and Dionysus in our culture right now. Yet the real Jennifer Lawrence is just a young woman, no different than any other. We have raised her (more accurately, a mythologized version of her) to a mythological height that makes what she eats, what she wears, what she says, what she does, and who she sleeps with a matter of national interest, just as humans once created stories about what their gods ate, wore, said, did, and nailed. Film actors are seen, in essence, as metaphors for Human.

Because the Academy members are nearly uniformly white men over 60, the awards are almost always given to other white people– human metaphors that are emotionally potent for the person voting on the award. When an award is given to an actor of color, these older white men are still voting based on how the artist makes them feel about themselves– in this case, self-congratulatedly “not racist.” Then, satisfied that they got the Good White Person cookie, they go right back to nominating and awarding reflections of themselves.

So when we choose a thin, able-bodied, all-white pantheon to honor for film acting, it says that the people who are the best metaphors for Human are thin, white, and physically “perfect.” Our culture is filled to the brim with negative portrayals of people of color. When children grow up, they look to the culture at large to determine what’s expected of them. Are we really OK with a culture that tells children of color– on the cusp of becoming the largest population of children in this country— that they’re not as worthy as white children? For that matter, are we really OK with telling our girls that their worth is indelibly attached to their attractiveness to men? Because we do both, all the time, and they’ve resulted in a million different kinds of cultural and personal problems.

So I applaud the Academy’s response to the current controversy. I think increasing the amount of women and people of color on the panel is the best thing the Academy can do, since that diversity will result in more diverse choices. What needs to happen concurrently, of course, is better representation of women and people of color across the board in Hollywood, just as there should be on Broadway and across the professional theatre community as a whole.

But let me be clear here: (coughs, turns on mic) NOTHING CHANGES IF ALL THE GATEKEEPERS CONTINUE TO BE WHITE MEN.

The Academy is making the best possible decision. I hope it happens in time to make swift changes, not glacially slow ones, as is too often the case. And our own best possible decision is to increase the number of women and people of color who are in gatekeeping positions of power in the rest of the film industry and in theatre.

It’s a massive problem if the solution to a lack of diversity becomes asking white men to please hire more women and people of color, thank you. We need more women and people of color in these decision-making, content-creating positions of power or all we’re doing is preserving the cultural primacy and power of white men.

 

I’m not saying that we should fire all white men and give their jobs to women and people of color. I AM saying that when these jobs become available– when it’s time to hire artistic directors, producers, and the like– let’s consider hiring someone other than the white guy every single time. I’ve been watching this for a couple of decades now, and almost every time a position of power opens up, it’s filled by a man, usually white, always able-bodied, usually straight. Out of 70 LORT member theatres, 50 (71.4%) have white male Artistic Directors, 16 (22.8%) are led by white women, 4 (5.7%) by men of color, and zero by women of color. When you consider that white men are just 31% of the population, that’s significant favoritism at play.

It’s nonsense to say that there are just fewer women qualified to produce either theatre or film. The indie world is dominated by women. We just don’t promote them to the high-paid gigs as often as we do the straight white guys because our hiring practices are exactly the same as our awarding practices– the white guys in power are looking for reflections of themselves.

We’re asking the existing people in power who created the lack of diversity in the first place to create the diversity we want. And they will, to a point, if we push hard enough. But as soon as the cultural attention moves elsewhere, those people– straight white able-bodied male people in power– will go right back to making decisions that reflect their own experiences of the world– will go on making decisions that mythologize people like themselves– because they are human, and that’s what humans tend to do. And yes, there are many white men who are committed to diversity in their theatre or film companies, but they are, obviously, the exception or we wouldn’t be here, sitting in the middle of dismal diversity stats.

All I’m asking is that we, who work in these industries, make conscious decisions to include women and people of color when we’re hiring for these gatekeeping positions. We understand the immense cultural power of the actor, but we who work in these industries– most of us behind the scenes– also understand the even more potent gatekeeping power of the people who choose the actors– and everyone else on staff.

There’s nothing wrong with telling stories from a straight white male perspective. They are humans who deserve to have their stories told. But we need to make room for the other 69% of our population as well. The way to do that is to ensure that the people making the decisions about what stories get told, how they’re told, and who tells them are representative of the population as a whole.

In case you’re interested:

Over the course of its history, 66 Black actors have been nominated for an Oscar and 15 have won; 28 Latino actors have been nominated and 9 have won; 17 Asian actors have been nominated and 4 have won. This is the 88th Oscars, meaning 352 awards to actors have been given overall out of 1760 nominees.

Black actors nominated = 3.75% of total nominations; Black actors awarded = 4% of total awarded

Latino actors = 1.6% of total nominations; 2.5% of total awarded

Asian actors = 1% of total nominations; 1.1% of total awarded

For comparison, Black people are 13.2% of the US population; Latinos are 17%, and Asians are 5.6%.

 

 

 

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Goodbye, Old Friend

 

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Marissa Keltie and Reggie D. White in the world premiere production of Lauren Yee’s Crevice, 2012, directed by Desdemona Chiang. Photo by Cheshire Isaacs.

The news has dropped that this, our 20th season, will be my company’s last as a producing organization. It’s been overwhelming and emotional to say the least. I’ve been away from the blog, social media, and, you know, REALITY for awhile while we were working toward this decision. I have a lot of things to say and some memories to share.

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Alyssa Bostwick in a PR shot for Scab, 2003, the production that introduced the work of Sheila Callaghan to the Bay Area. Directed by me. Photo by Cheshire Isaacs.

 

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One of our earliest flyers. This was 1997. Pictured are the people who wrote and directed the short plays, since that’s who we had on hand. L to R: Charlie Marenghi, Alex Pearlstein, Tonia Sutherland, and Christopher Morrison.

I’m deeply grateful for all the love and support given us over the years by our artists and audiences, local critics, and theatremakers and writers nationwide. Impact’s mission was always one of service. Our mission was to provide early-career actors, writers, directors, designers, and tech professional opportunities while producing work that spoke to a younger generation of theatregoers– early-career audience, if you will. We felt that mission was underrepresented in the theatre community, so we set out to change that. Watching our artists grow– both in-house and as they moved on to bigger things– has been one of the most satisfying aspects of my life. Right this moment, there are artists who came through Impact working Off Broadway and at OSF, and, of course, in TV and film, whose voracious appetites for playwrights support emerging writers with regular salaries, a development I never could have predicted when we began this company in 1996. I know one day someone who came through Impact will be accepting that Tony, Oscar, or Pulitzer.

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Andrea Snow and Marissa Keltie in Disassembly, one of the six Steve Yockey plays (5 of which were world premieres) Impact produced, including the short play he wrote for Bread and Circuses, which he also curated. The first, Cartoon!, introduced his work to the Bay Area. Steve Yockey is the one who came up with the name “Bitter Gertrude” for this blog. I will always be grateful for his trust in us and his friendship. Plus he introduced me to Bitch Pudding. Steve’s plays are now done all over the country, and he writes for HBO’s The Brink. (Photo by Cheshire Isaacs, production directed by Desdemona Chiang)

 

If I had a coat of arms, it would be a pair of hands giving someone a boost-up. My only regret is that I couldn’t help more artists. Thank you for trusting us with your talent, your time, your attention, and your work. I love you all, you magnificent bastards.

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Reggie D. White and Anna Ishida in Titus Andronicus, 2012, directed by me. Photo by Cheshire Isaacs.

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Jonathon Brooks as the character Jason portraying Kester the Younger, his D&D character, in Cameron McNary’s Of Dice and Men, 2011. When Of Dice and Men premiered at PAX, I was immediately contacted by a bunch of people asking me, excitedly, “Did you know there’s a D&D play?!” Evidently I was the leading nerd AD in the US at the time. I found Cameron, asked for the script, and knew within twenty minutes I had to produce and direct it. Cameron is yet another good friend I made working with this company.

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One of our PR shots for Macbeth, 2003, directed by me. Second from the left is Skyler Cooper (as Lenox), who would go on to play Othello in our lesbian Othello (picture below). Next to Skyler is Pete Caslavka (as Macbeth), a key member of my company for many years, now living in LA. I still miss him so much. Next to Pete is Casey Jackson (as Banquo), who would go on to play Iago in that same Othello. Photo by Kevin Berne in the alley behind our theatre. Skyler brought with her to this shoot the most beautiful woman any of us had ever seen in person. This was our introduction to Skyler’s power over women. They would show up at the theatre, dropping off gifts (like hand-dipped chocolate-covered strawberries for the cast) and cards, seeing if Skyler was there yet. I’ve never seen anything like it before or since. She’s also an amazing actor and a wonderful, big-hearted human. You may have seen her on RuPaul’s Drag Race in 2011.

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Marissa Keltie as Desdemona and Skyler Cooper as Othello. Photo by Cheshire Isaacs, 2005.

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Prince Gomolvilas and Brandon Patton in one of the three incarnations we produced of their amazing show, Jukebox Stories. I adored all three of these shows. One day I’ll have to find a way to produce another one.

WHAT COMES NEXT

Impact 2.0 will exist online. Impact’s mission has always been one of service, so we’re discussing ways we can continue to be of service to the theatre community. We’re looking at providing profiles of artists and writers whose work we recommend, articles with advice for emerging artists, articles from varied and diverse perspectives in theatre, reviews of local indie shows, resources for teachers, and more. Nothing’s set in stone, but the new Impact will likely cover at least some of that. Our annual season planning retreat is MLK weekend, so we’ll be planning a new Impact for you then. Stay tuned. And again: THANK YOU.

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Pete Caslavka in The How-To Show, a collection of shorts directed by Alyssa Bostwick, 2006.

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Cheshire Isaacs created so many incredible posters for us. I’m partial to this one, because the actor on it is the Spawn of Gertrude– my youngest, Jonah, as Antenor, 2013. Jonah had tech instead of a 15th birthday party. We had cake and then got back to work. “Now you’re a real theatre professional. We don’t have birthdays– we have tech.”

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One of several poster images Cheshire designed for Impact that became the cover of the published version. (We did the west coast premiere of Lauren Yee’s Ching Chong Chinaman, directed by Desdemona Chiang, in 2008.) Cheshire’s graphic design and production photography are the best in the nation. You can hire him for freelance work for your company by checking out Cheshiredave Creative at cheshiredave.com.

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Hamlet, 2006. The only Impact show I was ever in. L to R, Patrick Alparone as Hamlet, Cole Alexander Smith as Claudius, and yours truly as Gertrude. I was usually very ahem “hands on” in PR shots for our shows, but I obviously couldn’t be for this one. I couldn’t see what was going on, and my back hurt like fire trying to hold that position. Desdemona Chiang was my Assistant Director, and she kept stepping in to push my shoulder back to maintain that twist. Cheshire Isaacs was the photographer, and he later said that I complained more during this than anyone he’d ever shot apart from Olympia Dukakis. GOALS.

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Stacz Sadowski as Charles the wrestler and Miyaka Cochrane as Orlando in As You Like It, 2013. Directed by me, photo by Cheshire Isaacs, fights by Dave Maier. Dave and I tend to exacerbate each other when we work together. Our stage combat work has been so, so much fun. Miyaka became a core member of Impact during this show. It was only three years ago, but it seems like he’s always been with us. You can see him in the upcoming Comedy of Errors.

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Mike Delaney as Adam in the world premiere of Lauren Gunderson’s Toil and Trouble, 2012, directed by Josh Costello. Mike has been a key member of Impact for years, as well as (with Sarah Coykendall) half of the mad genius behind the half-filmed, half-staged cult classics The Sadist, Eegah!, and the upcoming Plan 9 from Outer Space, the last show of our 20th season, and our last show as a regularly producing company. Photo by Cheshire Isaacs.

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Maria Giere Marquis as Zombie Marlene Dietrich in JC Lee’s “The Reanimation of Marlene Dietrich,” one of the short plays in Bread and Circuses, directed by Desdemona Chiang. Maria has been a core company member for years whose rock-solid brilliance in both comedy and drama has been recognized by critics all over the Bay Area. Maria will be in our upcoming Looney Tunes Comedy of Errors. JC Lee is now co-producing How to Get Away with Murder. Des Chiang is currently directing Nick Payne’s Constellations at Seattle Rep, then going on to direct Impact alum Cindy Im in The Winter’s Tale at OSF. Photo by Cheshire Isaacs.

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Cindy Im as Feste in Twelfth Night, directed by me in 2010. Maria Giere Marquis as Viola and Seth Thygesen as Orsino in the background. Photo by Cheshire Isaacs.

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George Sellner and Sarah Coykendall in a PR shot for The Dragon Play, 2015, that introduced the work of Jenny Connell Davis to the Bay Area. Sarah has been a core company member for years. I can’t imagine what we would have done without her immense talents as a stage manager, designer, and actor.

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Carlye Pollack and Marilet Martinez in the world premiere of Learn to be Latina by Enrique Urueta, 2010. Marilet is a company member whose excellent work in comedy, drama, and stage combat is highly sought after all over the Bay Area. Photo by Cheshire Isaacs.

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One of my favorite Impact production shots. Chris Quintos in The Chalk Boy by Joshua Conkel, photo by Cheshire Isaacs, 2011.

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One of my favorite Impact poster images. My husband painted the mini to look like the actor playing our paladin, Jonathon Brooks. He painted minis for each member of the cast. Photo and design by Cheshire Isaacs.

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This was a picture Cheshire took to be used as a framed photo on the set of Richard III. Jon Nagel (my husband, an Impact actor and tech since 2003) as King Edward IV and Tamaaron Ishida-White as the little prince. Tamaaron is a reborn doll we bought to be used as the baby prop in Titus Andronicus. The actor playing Aaron, Reggie D. White, named the prop after its in-show parents (Tamora and Aaron) and the actors playing those roles (Anna Ishida and himself). The name stuck. Tamaaron has been one of the hardest-working babies in show business, going on to appear as the baby in the world premiere of Lauren Yee’s Crevice, as the infant Astyanax in Troilus and Cressida and as pretty much every baby we’ve ever needed.

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This is a quick snapshot my husband, Jon Nagel, took of himself and Ariel Irula during an early rehearsal for Bekah Brunstetter’s The Oregon Trail, (directed by Ariel Craft) the play that introduced Bekah’s work to the Bay Area, 2015. For some reason, he’s wearing his show hat and she’s wearing her normal hijab. Ariel played my husband’s younger daughter. She’s more than a foot shorter than he is, so he’s either scrooching down or she’s on a box. Because she’s so tiny, we called her “pocket daughter” through the whole thing. I still do, tbh. Ariel is a young actor I believe in with all my heart. I would have loved to have made her a company member. Cast her in everything, you guys.

 

 

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The Real Story of Clarion and Lloyd Suh

I don’t have any insider information. But I’ve been both teaching theatre in the university system and producing professional theatre for over 20 years, and I’m sick of the articles being written about this that have no understanding of what we do or how we do it.

Marilouise Michel of Clarion University wanted to produce Lloyd Suh’s Jesus in India, but never completed the licensing agreement, or responded to the agent when asked about casting. Michel cast with all white actors, including the roles written for East Indian actors. The rights, having never been granted, were denied.

Here’s what happened: In January, Clarion asks for a copy of the play. In May, they inform Lloyd they’re adapting it into a musical. For those of you unfamiliar with IP copyright, this is illegal if done without author permission. Lloyd generously tells Clarion that’s fine if it’s just a classroom exercise, but he (obviously) has questions if it’s for public performance. The director never responds. Meanwhile, she’s begun negotiations with the agent, who has asked her about casting. The director does the paperwork required for the university to disburse a check to the agency, but never completes the actual rights negotiations or licensing agreement. On October 30, five months after Lloyd asked about the musical adaptation, the director emails Lloyd asking if he would be able to skype with the actors who are currently in rehearsals. Lloyd, thinking WTF? heads over to google and sees that the production (still without the legal permission to adapt or even perform the work) has been cast with all white actors. He emails his agent. The agent emails the director. The director says LOL, we couldn’t cast it any other way, and I forgot you even asked. Lloyd discovers from his agent that the licensing agreement was never completed. He clearly restates what the agent was (obviously) trying to discuss with the director five months earlier: the Asian characters need to be played by Asians, or the rights will not be granted. The director says no. The rights were not granted.

And the world goes nuts BLAMING LLOYD.

The coverage of this has been enraging, painting Lloyd and his agent (the marvelous and wonderful Beth Blickers) as bullies, when nothing could be further from the truth. Clarion is completely to blame, even if you believe white people should be allowed to play people of color. 

The director maintains the agent never mentioned race in her email. That may very well be true. The email may have said something along the lines of, “Before we release the rights, how do you plan to handle the specialized casting in this play?” or even just “How do you plan to cast the play?” It’s disingenuous to assert that a question like that doesn’t, at the very least, make clear that casting is an important consideration in rights negotiations. I’m willing to bet Michel didn’t complete the licensing agreement because she didn’t want to have to confess to Beth that she had an all-white cast, knowing full well that would be a problem. I’m willing to bet Michel, who had a provisional yes and had already sent the paperwork required for the university to disburse a check, believed she was far enough along in the process that she wouldn’t get caught if she kept her head down.

I have had innumerable conversations with people in education about paying performance rights, rewriting scripts, or violating the playwright’s express instructions, and invariably I’m trying to convince someone that Yes, you WILL get caught, because internet. (I’m of course also discussing Ethics, and IP rights, and OMG are you even kidding me with this?) It’s depressingly common for my fellow educators (and even more so for administrators) to believe they won’t get caught violating contract or performing without rights, so I have no trouble believing that this director believed a little of both.

The people out there howling that Lloyd shouldn’t have cashed the check are spurred by misrepresentative coverage. First of all, Lloyd didn’t even see the check. The agency deposited the check along with every other one they received that day, and would eventually disburse payment to Lloyd for all the shows for which they’d contracted. It’s not at all uncommon to send a check before all the details of an agreement have been finalized. If the agreement isn’t completed for whatever reason, the agent returns the money. Cashing the check is not a tacit way of saying “I would love for you to violate my IP rights and do whatever you like with my play.”

Playwrights, agents, and publishers pull the rights for ALL SORTS of reasons. Beckett’s estate famously won’t allow women to be cast in Waiting for Godot (with some notable exceptions). Tams Witmark once shut down a production of Anything Goes because the company wanted to use a drag queen Reno Sweeney. MTI shut down a Bay Area production of Godspell— with a C&D!!–because the company changed the lyrics. Neil Simon refuses the rights to schools and companies that want to edit out his swear words. Lloyd owns his play. If he wants to refuse rights unless a production agrees to put a full-page elegy to Mr. Jingles the Sock Monkey in the program, he has that right. He sets the rules, just as you set the rules for who uses your property.

Clarion is in the wrong here, period, even if you believe white people should be allowed to play people of color. Which, in 2015, is just nonsense.

I’m sick of the mainstream articles (and posts and comments) wherein the years of activism, resistance, discussion, and progress around casting and diversity in theatre are invisible. Is the director at Clarion misrepresenting the issue deliberately? Or is she really so disconnected from the theatre community that she doesn’t know about these issues? Why are the writers of these articles so ignorant of the years of discussion, the hundreds of articles, and the massive national controversies around casting and diversity in theatre?

At least 95% of the available roles in any given season are open to white people. It’s embarrassing to watch white people throw a tantrum over the remaining 5%. We’re not entitled to everything just because we want it. I’ve written repeatedly about the many reasons non-white characters should be played by non-white people (search “diversity” if you’re interested). Many writers far better than myself have written about this issue repeatedly. In brief:

  1. History. Theatre, film, and television all have a long history of casting white people as people of color while shutting actors of color out. Those portrayals have almost always been insulting and racist. The historical context has made this issue a sensitive topic for people of color, and rightfully so as they have had to watch themselves portrayed in insulting ways by white people while being shut out of opportunities to play themselves. If you think this is a matter of the past, think again. And again. And again. And again. And again.
  2. Representation. Actors of color are still underrepresented in theatre. Most of the available jobs go to white actors, who are disproportionately represented. White men in particular have always dominated, and continue to dominate, the industry. It’s unethical to push people of color aside to allow even more white people to have even more roles, especially the tiny handful of roles written specifically for people of color. This is also why it’s not at all the same when a person of color plays a role written for a white person. That’s a step toward proportional representation, not “racism against white people.”
  3. Ethics. People of color in the theatre industry have been very clear that the continued use of yellowface, brownface, and blackface, as well as the continual whitewashing of characters, is hurtful to them in multiple ways. White people have three choices and three choices only: “We hear you and we’ll stop,” “We hear you, but we don’t care if it hurts you, so we’ll keep doing it,” “We don’t believe it should hurt you; you are incorrect about your own experience of the world.” The first choice is ethical; the others are not.

So when we discuss issues like the cancellation of Clarion’s production of Jesus in India, let’s focus on the facts. Let’s insist on accurate coverage. Let’s hold each other accountable. And let’s have the self-respect to admit when we’re wrong.

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The Problem with the Shakespeare “Translation” Controversy

There has been some fiery controversy around Oregon Shakespeare Festival’s announcement that they’re commissioning “translations” of all 39 Shakespeare plays into “modern English.” It was the rollout that launched a thousand screams of condemnation.

People were either condemning the idea that Shakespeare needed “translating” at all, or condemning the people who were protesting the “translations.” It was either “This is the death of art” or “People against this need to stop being so damn precious,” as if there was no room for mixed feelings or thoughtful discussion. I was a little disappointed in the terms of the discussion being set up as a battleground. I was asked to comment no less than ten times before I had even read the PR myself.

At first, I will admit, I was shocked that OSF would sponsor something that seemed so obviously horrible. Then I read OSF’s PR and realized what the problem was. In the PR, OSF referred to the project as modern language “translations,” and then went on to describe a project that couldn’t be further from that. The PR quotes OSF director of literary development and dramaturgy Lue Morgan Douthit as stating that the texts won’t be line-for-line “translations,” but much more subtle. Douthit is quoted as saying that she used the word because she likes “the rigor that ‘translate’ implies.” I have some skepticism about that quote. Considering that the most famous “Shakespeare translation” is the appallingly bad “No Fear Shakespeare,” the word “translation” in this context implies exactly zero rigor. It was a deeply unfortunate choice.

OSF has instructed its list of playwrights and dramaturgs– all of whom are leading national voices– to first, “do no harm.” Lines that are already clear are to be left intact. But what, exactly, does “clear” mean?

Let’s start with the bad news.

The pilot for this was Kenneth Cavander’s Timon of Athens. In it, Cavander sets the clarity bar incredibly low, and the resulting updates are problematic.

Original:

TIMON: What, are my doors opposed against my passage?
Have I been ever free, and must my house
Be my retentive enemy, my jail?
The place where I have feasted, does it now,
Like all mankind, show me an iron heart? [Arden 3.4.77]

Cavander:

TIMON: What’s this? My doors locked—to shut me in!?
Haven’t I been always open with my friends,
And now my own house turns against me,
Becomes my jail? Does my home, where I have feasted,
Show me, like the rest of mankind, an iron-heart?

Original:

CUPID: Hail to thee, worthy Timon, and to all that of his bounties taste! The five best senses acknowledge thee their patron and come freely to gratulate thy plenteous bosom. There taste, touch, all, pleased from thy table rise, They only now come but to feast thine eyes. [Arden 1.2.121]

Cavander:

CUPID: Hail to you, worthy Timon, and to all who savor the feast he provides…The Five Senses salute their patron, and gratefully honor your unstinting hospitality. I will now present…Taste…Touch…and the rest of them. Please rise, everyone…You have been well fed, so now—a second feast…For your eyes only!

(Source)

While some of the “translated” lines above are stilted and clunky, I’m most concerned with accuracy and clarity. Cavander’s “Does my home, where I have feasted, show me, like the rest of mankind, an iron-heart?” is actually LESS clear than the original. Moving “show me” in the sentence order makes “like the rest of mankind” modify “me.” Now the house is showing an iron heart to Timon and all mankind, rather than the house joining mankind in showing Timon an iron heart. It’s not the only inaccuracy just in these two samples. “Have I been ever free” is rendered as “Haven’t I always been open with my friends,” which is a huge change to the meaning of the line. At the end of the second quote, “They only come now but to feast thine eyes” becomes the inaccurate (and trite) “so now– a second feast. For your eyes only!”

While I’ve only seen a handful of samples, in every one, Cavander’s “translation” is much deeper than it needs to be, discarding words and phrases that are clear on their own, and inserting stilted or inaccurate substitutions. So I respect the alarm some had when they discovered that OSF was commissioning like “translations” of the rest of the works.

Those who had no experience of the Cavander were alarmed by the word “translation” because, up to this point, it primarily meant uniformly awful modern updates like No Fear Shakespeare. No Fear is not only badly written, its “translations” provide a superficial understanding of the lines, and sometimes even inaccurate ones. A few examples: “sighing like furnace” becomes “huffing and puffing like a furnace”; “Bless you, fair shrew” becomes “Hello to you, my little wench”; “Two may keep counsel, putting one away” becomes “Two can conspire to put one away.”

There are excellent reasons to have legitimate concerns about a “translation” project. It’s not about being “precious”; it’s about the deep problems evident in previous “translations.”

But let’s look at the good news.

The Cavander “translation” is troubling, yes, but for the rest of the series (apart from The Tempest, which Cavander is also writing) OSF has commissioned a phenomenal group of writers: Christopher Chen, Sean San Jose, Octavio Solis, Luis Alfaro, Lloyd Suh, Migdalia Cruz, Aditi Kapil, Marcus Gardley, Naomi Iizuka, and Taylor Mac, just to name a few, supported by dramaturgs like Joy Meads, Nakissa Etemad, Julie Felise Dubiner, and Desdemona Chiang. These people are some of the cream of the crop of modern American theatremaking.

Most importantly, they’ve been instructed to leave language that’s clear intact, and I trust them to make good choices about what “clear” means. None of these writers could ever be accused of imagining audiences can’t understand difficult language. I also trust them to know the difference between “poetic” and “stilted,” and I trust those dramaturgs to prevent misreadings of lines that would wind up “translated” incorrectly.

Given the “do no harm” instructive and the focus on clarity, what’s surely happening here is not much different than what we all already do for production. The meanings of some of the words in Shakespeare’s texts have changed so completely in the past 400 years that performing them as is becomes, essentially, vandalism of the author’s intent. If you’re producing As You Like It, you can’t perform a phrase like “the humorous duke” and expect a 2015 American audience to understand that it means “unpredictably moody” and not “funny.” There are literally hundreds of words and phrases whose meanings have changed, and there are even more that are just no longer in use. Some are clear from context, particularly when seen acted on stage (prithee, anon, varlet, belike, wherefore), others, not so much (sack, doubt, shrift, horns, jointure, French slop). There are some words whose definitions are hotly debated (pugging, wappened). When we produce Shakespeare, we all make decisions about which words we leave intact, believing the audience will get the gist in context, and which need to be changed to preserve the meaning of the line. It’s rare to see Shakespeare completely untouched because it’s a foolish way to perform it.

And don’t forget that there’s no one definitive Shakespeare text. Every published edition, and many performance texts, are the result of a series of decisions made by an editor with every past edition, folio, and quarto open on their desks. With no definitive text, absolute purism is indeed just preciousness.

But the problem wasn’t precious purism. The problem with Shakespeare “translation” is not in what these playwrights will actually do– they haven’t even done it yet– but in the word “translation” itself. It’s one hell of a trigger. If OSF had used a less unfortunate, more accurate word, there wouldn’t have been a controversy.

We’ve covered the good and the bad– now it’s time for the ugly.

What if the doomsayers are right, and every one of these plays is as bad as the worst No Fear?

Well, so what?

There are already eleventy splatillion “translations,” adaptations, deconstructions, and the like of these plays. If Macbeth can survive Throne of Blood and Scotland PA, if Romeo and Juliet can survive West Side Story and Romeo Must Die, and if Hamlet can survive Strange Brew and The Lion King, then I think the plays will survive some of the best playwrights and dramaturgs in the country having a whack at deciding what to do about “horns” and “Barbary cock-pigeon.”

And I get that it’s upsetting to a lot of people that OSF, one of the stewards of Shakespeare’s work in the US, seems to be endorsing something you’re imagining as a combination of No Fear and Forbidden Planet, but if someone handed you a gigantic check, told you that it was only for this project, but that you could hire any playwrights and dramaturgs you liked, you would JUMP at the chance. This is EXACTLY what we want one of our flagship American theatres doing– paying artists to art. This is something to be celebrated. If you don’t like the results, well, don’t stage them or go see them. OSF has no plans to stage them either, apart from the developmental readings. Just be glad that these enormously deserving artists landed this fantastic gig.

Personally, I’d be FAR more excited by full adaptations from these writers, engaging with the texts rather than “translating” them, but I wasn’t the one writing the check and telling OSF what to do with it. That honor belongs to Dave Hitz from the Hitz Foundation. Honestly, it’s wonderful that they’re supporting the work of all these artists. I think that should be the main focus here. People you admire– some of them your friends– are getting paid to do what they love. That’s a great thing, whether you love the resulting texts or not. Either way, Shakespeare will be fine.

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BUT I GET TO BE RACIST BECAUSE ART: The Mikado

artist

With last year’s massive national controversy about The Mikado in Seattle, it’s difficult to believe that anyone, anywhere, would be doing The Mikado in yellowface, right? I mean, Rick Shiomi at Skylark Opera in collaboration with Mu Performing Arts in Minneapolis showed us all how it’s done back in 2013: Since the work is actually meant to lampoon British Victorians, why not actually dress them as British Victorians? A few very small, non-invasive line changes and voila. Now you get to have Mikado sans racism. That’s what we all want, right?

As it turns out, no. The New York Gilbert and Sullivan Players is doing a production of The Mikado this upcoming holiday season, with most of the characters in yellowface. Playwright Leah Nanako Winkler wrote a fantastic piece about it on her blog that was picked up by Angry Asian Man, in which she expresses her shock and calls for people to speak out in solidarity with the Asian American theatremakers (and audience members) who are fighting for better representation of Asian people on American stages. If you want to contact the Skirball, she lists all the contact information you need.

Several of the usual (awesome) suspects in the theatre blogging community are writing about this production as well (Howard Sherman, Erin Quill). With all these articles burning up my feed, I’m seeing the inevitable backlash comments as well, defending The Mikado in particular and racism in art in general. I’ve covered this issue before. We’ve all covered it before. And yet the apologia for racist content never stops.

So, I’m thinking it’s time to play Racist Art Apologia Bingo! EVERYONE PULL UP YOUR FACEBOOK FEED. Find the first article about this set to “public” and open the comments. Get ready to check those comments for these well-known racist apologia statements as Millie calls them! Ready? GO.

I'm ready!

I’m ready!

(Tumbles wheel full of racist apologist statements) OK, I’ll just reach in here and pull these out one by one. See if you can find them in your feed!

Source: bossip.com

Millie draws the first one! (Source: bossip.com)

B17: “The one who points out racism is the REAL racist.” Quote from my feed:  “[The Mikado] is only racist in the eyes of a racist.”

Analysis: ILLOGICAL. I get that you’re going for the time-honored “I’m not the nerd; YOU’RE the nerd” you picked up in grade school, but it doesn’t fly in grown-up discussions. Let’s think about this for a second. The primary voices speaking out against yellowface are Asian American. So Asian Americans who say The Mikado is racist are the real racists? Because . . . ?

race.meme.hayseed

Here comes the next one!

N44: “Why should we pander to political correctness/SJWs/liberal demands?” Quote from my feed: “A work of art shouldn’t pander down to ignorance but insist that an audience rise to its challenge.”

Analysis: BELITTLING. Treating people of color with respect is never “pandering.” You only “pander” to demands when those demands are unworthy of consideration. Making this argument is tantamount to saying that racist portrayals of people of color on our stages, including yellowface, are so perfectly acceptable that the protest against them is worthless, and any consideration of that worthless protest is pandering. This quote is even worse, as it assumes that people who protest the racism in The Mikado are just “ignorant” and unable to “rise to the challenge” of art.

racist.joke.meme

Did you get both? Get ready for the next one:

I29: “It’s actually anti-racist if you think about it.” Quote from my feed: “What always matters in the question of whether something is racist is intent. It is actually making fun of an Englishman’s condescending attitude towards other cultures…or specifically, the Japanese.”

Analysis: WISHFUL THINKING. So let me get this straight: The cartoonishly stereotypical characters in The Mikado are actually fighting racism because they’re mocking Victorian racism through modern white people performing cartoonishly racist Asian characters. This is like claiming you punched someone to show other people that punching is bad. MY INTENT WAS CLEAR. I am anti-punching. Therefore, I get to punch whoever I want. QED.

satire

Ooh, I bet you guys are getting close! Just a couple more spaces to fill……

042: “You just don’t understand.” Quote from my feed: “[The claim that The Mikado in yellowface is racist] is an astonishingly simple and one-dimensional understanding of this lighthearted but really profound and many layered work of comic art.”

Analysis: NONSENSE. We understand; we just disagree. We see all the layers that you do, sweetheart, we just don’t agree that the “profound” message that Victorians were racist and Orientalist (lol, “profound”) does not earn the right to perform yellowface in 2015.

racismfunny

One more . . . Come on, Millie! I’m so close!

G8: “This is ART.” Quote from my feed: “There’s a very good reason these works have endured…why they are admired.”

Analysis: IRRELEVANT. This is an apologia favorite. “Art needs to be protected; art should be pushing boundaries and making people uncomfortable; pieces like The Mikado have have endured and long been admired; we should never censor art.” No one is claiming these works should be demolished. We should continue to study them. Pretending our history of racism never existed is a dangerous idea. But what we’re choosing to perform as “light-hearted” comic performances, what we choose to put on our stages, and how we choose to present work, are all completely different considerations. The work didn’t endure because of the racism in it, and often, as Rick Shiomi demonstrated, there’s a wonderful workaround that makes the piece relevant to an audience for whom racism is no longer acceptable.

The main problem with the “preserving ART” argument is that racism and racist caricatures had one cultural context in the Victorian (or Elizabethan, or Classical, or what you will) era, and have completely different contexts now. Fighting to preserve a racist work as written most often vandalizes that work’s original intent. The racist symbol was created to convey a meaning it can no longer convey. Yellowface can no longer convey the meaning Gilbert originally intended when writing The Mikado because that meaning has been superceded by a modern understanding of yellowface’s inherent racism. Even if you believe the yellowface in The Mikado means “Victorians are racist; isn’t that funny?” it can never mean that to an audience in 2015 because yellowface is read as racist in and of itself, and stomping your feet and insisting that Gilbert’s intent was completely different does exactly nothing to change that.

But purism is a smokescreen to hide the real issue at hand. If people are fighting so hard to perform classic works as originally performed, where are the castrati? The boy actresses? The act intervals? The on-stage audience seating? These people have no interest in purism as such. They’re upset because they feel entitled to the right to be able to decide what is acceptable and what is not. White people have always had that right, and the idea that people of color might have the cultural power to contradict them and be heard galls them. An issue these white people find acceptable– racism in performance– is being challenged, and they will fight as hard as they can to retain the cultural supremacy that entitles them to continue to define racist performance as “acceptable.” They’re fighting more and more furiously because they know they are losing.

I, however have WON!

RACIST APOLOGIA BINGO! B17, I29, N44, G8, O42! BAM!

Suck it, Marlene, Esther, and Florence! See you at the next Hadassah meeting in my NEW HAT.

Suck it, Marlene, Esther, and Florence! See you at the next Hadassah meeting in my NEW HAT.

P.S. Shana Tova to my fellow tribespeople and Jew-ish affiliates! I hope you all have a wonderful 5776.

UPDATE 9/18/15: NYGASP has announced the production will be cancelled and replaced with Pirates of Penzance. I still think a better solution would have been to update the work like Rick Shiomi did, but I understand why they felt they should just shut the whole thing down. I hope this opens a conversation at NYGASP (and elsewhere) about representation and diversity on our stages.

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“Too Street”: Hypocrisy in Policing the Speech of our Actors

Idris Elba, the living embodiment of

Idris Elba, the living embodiment of “suave,” was labeled “too street” to play James Bond by Bond author Andrew Horowitz.

I just had an interesting conversation with someone whose white teens are using the slang words “finna,” “aight,” “brah,” etc. She characterized it as “shortening words to sound hip.” I’m almost certain she just didn’t know where the terms came from; I don’t think she was trying to be erasive. But it brought to mind how poorly we’re handling political issues around language, especially in the theatre.
Those slang words aren’t about being hip and cool– they’re about being Black. I’m not trying to stop Black people from influencing the language as a whole. Black slang is, and has always historically been, one of the most important influences on the way English is spoken in America. But understand the context here. When a Black person uses the slang they create, they’re slammed for not being “professional,” not being “articulate,” but when that slang finally makes it to white mouths, it becomes “hip” and “cool.” Usage changes language, and language is political. Our culture constantly appropriates Black invention as “hip” and “cool” while deriding and marginalizing Black people for using their own inventions. Language is an enormous part of that. If it’s become “hip” for white kids to say “finna,” how are we approaching Black people who use their own slang? Because right now, I see a hallway full of shut doors for Black people who aren’t speaking perfect English at all times.
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I corrected a girl for saying “ax” in my class last year, and I’m deeply ashamed of that now. I read up on that usage, and I came to understand how wrong I was. Language is political. We have to understand what we’re enforcing, and why we’re enforcing it, when we police usage.
I know a Black actor who was told by a Black professor at the university where I used to teach that he would never be cast in Shakespeare because his speech was “too Black,” and that he needed to amend his speech in order to be cast. The actor told me this after I had cast him in several Shakespeare plays at my company (as well as several new plays– this actor is phenomenal). As a white director whose approach to classic work deliberately eschews stiffness and formality, I’ve always had an eyeroll for “American Standard,” which we still teach actors to this day. Even actors completely untrained in it will often fall into its faux-British, formal tones when doing Shakespeare. A couple of years ago at my company’s general auditions, I had a very diverse bunch of college actors, all from the same university (perhaps not coincidentally, where I used to teach), and every single one came in with a cookie cutter, faux-British, semi-Standard American accent. I actually considered contacting the chair with a “What are you teaching these kids?” email, but I knew exactly what they were doing: prepping them to perform in a world that rejects anything that doesn’t reek of privilege.
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When we cast Shakespeare, when we cast new plays, when we teach actors, when we go to the theatre, when we choose our seasons, what choices are we making that reinforce privilege? How often have Black actors heard they were “too urban” or “not urban enough” for a certain role? How often have Asian and Latino actors been asked to “do the accent”? How often are we shutting people out because their speech– or their writing– does not conform to the expectations of white privilege?

The evidence is everywhere. Critics who slam plays because they don’t conform to the values and expectations of white privilege. Actors are told by white directors and casting directors in auditions to be “more urban” or “less urban,” meaning, “perform Blackness in the way I expect you to.” Black comedians Sasheer Zamata and Nicole Byer wrote a fantastic sketch, performed by Byer, called “Be Blacker,” mocking the many auditions in which Black actors are told to “be more urban.”

What does it mean to ask an actor to perform Blackness in a way white people expect or want? How often are we encoding the enforcement of privilege in our casting? How often are we encoding the enforcement of privilege when we say we’re teaching actors “speech and diction”? How much policing of speech is enforcing privilege?
American culture– and that includes American theatre– needs to take a long, hard look at the multitude of ways we police speech, especially the speech of people of color and people without class privilege. I’m including both spoken speech and written speech in that. If we’re making commitments to diversity, then we need to think about the multitude of ways in which we’re reinforcing the idea that diversity must be performed only in ways that are acceptable to white privilege. White people are measuring the acceptability of people of color by how closely they resemble whiteness off stage, and how accurately they can portray Blackness to white specifications in various situations on stage. I’m not claiming this is limited to Black people– cis people measure the acceptability of trans people by how closely they resemble cis people, and so on. But the topic at hand is how we believe Black speech is acceptable coming out of white mouths, but reject it coming out of Black mouths unless we can directly profit from it.
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 In other words, if white America is talking about how hip and cool it is that white kids today are saying “finna,” then we need to look long and hard at the actors we’re rejecting because their speech isn’t “ready,” is “too urban,” or who “aren’t articulate.” We need to look long and hard about how we teach our students. We need to look long and hard at the people we’re not hiring at all levels because we perceive their speech– or their presence– as performing a kind of Blackness (or Asianness, or any other kind of identity that differs from straight, white, cis, class privileged) with which white people are uncomfortable.
I’m not excepting myself from this. Quite the opposite. I’m saying: This is a place wherein we’re falling down, and dragging far too many people down with us. Let’s examine what we’re doing more closely, and find a better way forward together.
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Celebrating Thin White Women

Sometimes it seems like our whole entire culture is one huge celebration of thin white women. Ogling them, collecting them, advertising products to help other women become more like them, giving them all the awards for everything ever. It’s not just that the pinnacle of American womanhood is seen as thin and white (and cis, and able-bodied). It’s that thin white women are framed as “normal,” “neutral,” and every other woman is measured by her distance from that “norm.” “Black woman,” “transwoman,” “plus-size woman.”

Maybe this is changing, maybe not. Like you, I live on the internet, where one can find pictures of all types of women, from professional shots to vacation snaps, and plus-size (I know, I know, bear with me) women are everywhere. There are plus-size models (both professional and indie, some with huge followings), fashion bloggers (also with huge followings), sex bloggerssingers in various genres, photographers who specialize in gorgeous shots of plus-size people, and, of course, a handful of famous plus-size actors cast in film and television roles. The body positivity movement is extremely popular, and has a significant presence on every social media platform and the internet in general, where it promotes self-acceptance and stands against the shaming, bullying, and body policing with which women (and some men) are victimized every day, as well as the tsunami of relentless backlash the movement itself faces.

Model Tess Holliday (Source: Vogue Italia, vogue.it)

Model Tess Holliday (Source: Vogue Italia, vogue.it)

Nothing brings out the angry, outraged commenters faster than a picture of a woman who’s not rail-thin.

Humans LOVE bigotry. We LOVE grouping together in “us” vs. “them” to shame, disparage, and belittle “them,” shoring up our “us” identity and placating our own insecurities and self-doubts. This makes us feel like we’re part of something larger, something strong, something, above all, superior. This is an intense human impulse that is expressed in things as damaging as racism and as benign as choosing a sports team. When we claim membership to a group, along with that comes shaming, disparaging, and belittling people who are not in that group, either good-naturedly when we have no real power over “them” (“Dodgers suck”) or with devastating consequences when we do. Every single group that ever existed has a list of “known,” “true,” or even “scientifically proven” reasons that people outside their group deserve disparagement. Science has been used to confirm literally every racial bias the west has ever had.

Science only gets answers to the questions it asks. The cultural biases of researchers very often generate results that confirm those biases. Biases lead researchers to create studies or aggregate data in ways that are designed to produce results that confirm their biases. Science understands this and attempts to correct for it with things like double-blind studies and peer review, which are all, of course, still deeply influenced by the culture.

Don’t get me wrong– I’m very pro-science. But I’m also realistic. The well-known cultural trope of “overweight = unhealthy” is being problematized in study after study (after study), while other studies confirm it (as relentlessly reported in every corner of the media). Which studies are “true”? The ones that confirm your pre-existing biases, of course. The rest are “junk science.”

Marie Denee, founder and editor of The Curvy Fashionista-- curvyfashionista.com. (source: Glamour.com)

Marie Denee, founder and editor of The Curvy Fashionista– curvyfashionista.com. (source: Glamour.com)

There’s an enormous amount of conflicting information about what an “ideal” weight is (the ranges were ratcheted lower several times in the 20th century), how people become overweight, lose weight, or maintain weight loss, yet our culture “knows” that overweight people are that way through choice, laziness, gluttony, lack of self-control, or even a lack of moral fiber, thereby excusing and even lauding the bigotry against fat people.

When an image of a woman who is not rail-thin is publicly displayed in any context other than one specifically discussing her weight in a negative light, even if the context has nothing whatsoever to do with weight, people go out of their way to make disparaging comments. The comments fall into two main categories: insults/slurs, and some version of “I’m just concerned about [this total stranger’s] health”/”this promotes an unhealthy lifestyle.”

You can’t determine the health of an individual by looking at a picture. If you look at a picture of a fat person and think, “they’re unhealthy,” you’re engaged in an act of bigotry stemming from cultural bias, not making a medically sound diagnosis. And if you’re not posting similar comments on images of high heels, MMA and boxingbacon, or other well-known public health concerns, then you are a concern troll: someone who uses “concern” as a cover for shaming, belittling, and bullying.

Actress Gabourey Sidibe at the Golden Globes in 2014. ( Jason Merritt/Getty Images)

Actress Gabourey Sidibe at the Golden Globes in 2014. ( Jason Merritt/Getty Images)

Someone cannot “promote” any kind of lifestyle simply by existing. Yet I’ve seen– we’ve all seen– “this is promoting an unhealthy lifestyle” comments on shampoo ads, fashion photography, celebrity profiles, and even photos of fat women working out.

The August 2015 cover of Women's Running featured model and runner Erica Schenk, drawing both widespread praise and criticism. (James Farrell, WomensRunning.com)

The August 2015 cover of Women’s Running featured model and runner Erica Schenk, drawing both widespread praise and criticism. (James Farrell, WomensRunning.com)

And let’s pause for a moment and remember that this issue is intersectional, and that larger women of color are the targets of unfathomable bigotry and hostility. Most people don’t even bother to cover their bigotry with “concern” like they do for white women.

We’re in a cultural moment where people are pushing back against thin privilege, and are being met with culturally-approved, flat-out HATRED. As content creators in the entertainment industry, who impact culture more than any other single source, we need to work against this hatred.

Indie model Sydney Sparkles, from her Instagram account, @aussieplussizebarbie

Indie model Sydney Sparkles, from her Instagram account, @aussieplussizebarbie

We stand up for gender parity, yet the only women our industry feels are worthy of inclusion are thin ones, or women like Robyn Lawley, whose “plus size” (at 6’2″) is 12. We need to stand up for the inclusion of ALL women, which includes stepping away from the constant, constant focus on women who only fit a certain body type unless the script explicitly calls for it. The adamant defense of thin privilege throughout our industries has got to stop, and the only way to get there is to make a conscious decision to stop it. This is our choice to make, and we must make it.

Robyn Lawley is considered a

Robyn Lawley is considered a “plus size model,” the first to be featured in Sports Illustrated. Photo: James Macari/si.com

We need to be realistic about the ways our current fight for gender parity often ignores intersectionality. Here in the Bay Area, there’s been some discussion about adding a marker to theatre listings that indicates which shows have gender parity (cast, crew, and playwright) so people can support them.  This ignores a raft of crucial issues. A show about four thin, white, wealthy women would be starred and therefore recommended and publicly congratulated, yet a show devised and performed by four young Black men speaking the truths about their lives would not.

Of course many (perhaps most) people fighting for gender parity are also fighting for greater racial diversity, but I’ve personally seen industry professionals say things like, “Gender is a more important issue than race, which is basically just a look.” I’ve seen multiple times: “We have to cast beautiful women because actors have to be desirable objects for the audience,” which begs the question: What is “beautiful?” Because I will bet the farm that means thin, white, able-bodied, and cis.

Yet WE CONTROL what “beautiful” is. We change the definition of beauty by creating cultural content. We’ve done it over and over and over, from Gibson Girls to Clara Bow to Marilyn Monroe to Farrah Fawcett to Scarlett Johansson. This is our choice to make.

Tony Curtis and Marilyn Monroe in Some Like It Hot.

Tony Curtis and Marilyn Monroe in Some Like It Hot.

There’s no reason we can’t open our definition of “beautiful” to include more diversity– more intersectional diversity that better reflects the women in this country– the people who are buying most of the film and theatre tickets. But first we must open our definition of “woman” to include more intersectional diversity, and cast women who aren’t thin, white, cis, AND able-bodied, because right now, you need all four to be considered “right” for the role of “woman.” If you’re missing even just one of those, you’re only “right” for “Black woman,” “overweight woman,” or “disabled woman.” This is our responsibility to change.

Fashion blogger Stacey from Hantise de L'oubli. Photo: hantisedeloubli.com

Fashion blogger Stacey from Hantise de L’oubli. One of my personal favorites. Her instagram is @hantisedeloubli. Photo: hantisedeloubli.com

If we’re going to push theatre and film companies for gender parity, let’s make sure we don’t enable yet another cultural space that celebrates thin, white, cis, able-bodied women and ignores (at best) everyone else.

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