Effects of Colorblind Casting

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Now, let’s say you were casting a show about a boy growing up in New Orleans in the 20th century. He is a poor boy, but he gets through the hard times by playing his saxophone in public for people to hopefully hear him and spare him some change. In the process, he gets recognized by some men who also play this new music called jazz. They see his talent and take him in to teach him how to be a better player. This poor boy soon grows up and is now playing professionally in respectable restaurants and clubs. Without even looking at how the playwright described this boy, you probably figured this poor boy is a young Black man. This is because we have grown up learning that the African American culture was the one who introduced jazz to us. But let’s say you decided to cast an Asian to play the young poor boy. You would see how this influences your audience, for if the audience knows that jazz music was created by Black people, then they would probably be confused and distracted while watching the show, for they know that the actor and the character do not match. Now, let’s say you have audience members who do not know who created jazz music, they will now be leaving the theatre with false knowledge that Asians introduced jazz music. Do you see how this does injustice to the African Americans culture, for we are not giving the credit that the deserve. We are not only cheating their culture, but we are also cheating the playwright.

In Teresa Eyring’s article, Standing up for Playwrights and Against ‘Colorblind’ Casting, we see how important it is to respect the playwrights work, because they describe their characters a specific way, for it has an impact on the show. Eyring states in her article, “Clarion University in Pennsylvania had to cancel their production of Lloyd Suh’s Jesus in India after neglecting to inform the playwright that they had cast white students in roles written for South Asian actors.” This playwright cancelled their show because he knew that race in this show played a large part, and having white students play these roles was inaccurate. He made the decision that it was inappropriate to use colorblind casting for his show, because this show was made for color conscious casting instead.

Casting has always been a subject of debate. All throughout history we have had struggles with who to cast. In today’s theatre, the debate about casting is whether we should be using colorblind casting or color conscious casting. Harvey Young, an author and professor of theatre writes in his book Theatre and Race, “The appeal of color blind casting is that it treats the theatre as a place when universal stories can be embodied by any person are told. It offers a glimpse of a utopian future in which not only racial assumptions but also the prejudices and discriminatory beliefs that can serve as social obstacles no longer exist.” (58). As we all would like to believe that a Utopian world would be wonderful, we also know that with a utopian world there is nothing unique. Color conscious casting is not saying that we should limit people’s options, it is simply saying that we should appreciate our different cultures uniqueness.

Let’s look back in the mirror now and appreciate all that your race represents. You are heading to the theatre for your first theatrical production, and you are thrilled to see your American historical hero play in this show. You take your seat and the show starts. When a White man enters the stage, you get excited knowing that he is portraying your hero. Not only did he look like Hamilton, but he could play the role with pride, because he knew that he was part of his history and there was unspoken respect and honor to play such a hero from his own cultures story. Hamilton was a white man who helped free the white people in America for England. The poor Black boy in New Orleans helped make an influence on American Culture, by creating jazz. Do you see now? Colorblind casting cannot exist in a world where color has meaning.

Sources:

Jadhwani, Lavina. “Color-Conscious Casting: Three Questions to Ask.” HowlRound, 21 Dec. 2014, howlround.com/color-conscious-casting-three-questions-to-ask. Accessed 26 Feb. 2017.

Young, Harvey. Theatre & Race. Houndmills, Palgrave Macmillan, 2013

Eyring, Teresa. “Standing Up for Playwrights and Against 'Colorblind' Casting.” www.americantheatre.org/2016/01/07/standing-up-for-playwrights-and-against-colorblind-casting/. Accessed 26 Feb. 2017.

Shirley, Don. “'Colorblind' Casting Has Wilson Seeing Red.” articles.latimes.com/1996-09-01/entertainment/ca-39559_1_august-wilson. Accessed 26 Feb. 2017.