Comments

1
institutional blindness - in the sun, i feel as one, staring at the sea, the sun, i'm dumb - institutional journalism - bring on the dancing horses' ass - i did time, 2000 days in Pgh, heard Wilson speak at a Pitt function, wrote a college paper on 'fences' - introduced myself to him at Minnie's on Broadway a year fore his death - which institutional race card directed the Afro-American version of King Lear below seattle Center - (Every Scene knows who is 'right) - i had free tickets! .. thank you *MJM & Associates*!! RIP!! may Bailey Boushay, Virginia Mason, Fred Hutch, etc. grow because of our efforts -
2
Considering only old, rich, white people GO to plays, everything else associated with theatre might as well be white as well...
3
Guess that means no black directors can tackle Shakespeare. 'Cause, you know, they just wouldn't interpret the material with the right amount of cultural sensitivity. And how could Alvin Ailey manage to mount a production of any classical ballet?
ARGGHHHH.
Society must ignore color, unless it means that your color isn't being seen as special and unique enough. The filtration of culture through differing viewpoints is what makes art in the first place.
4
This is an interesting post... On the one hand, I agree with what Brendan said about Bart’s abilities and August Wilson’s work (I also agree that it’s tough to pronounce on this without sounding like a “callous honkey”).

But, I’m thinking, how would I feel about a man directing something like The Vagina Monologues or Top Girls? I don’t know… I guess I would think it was a little weird, but I’m not sure I would get up in arms about it. I certainly wouldn’t think that there’s no way that a man could possibly direct this play or have anything new to say about it.

And, isn’t “working out of their socio-cultural-historical context” something that actors do all the time? Why would we expect different from directors?
5
By the way… is the link broken?

And one other thought – maybe these individuals are not pissed about Sher’s ability to direct the play, but that in choosing him, talented African-American directors were passed up.
6
Could be, Julie. Though he's got Tony awards leaking out of his shorts these days, so that's a tough case to make.

(But a man directing Top Girls? Awesome. An ALL-MALE production of same? Even awesomer.)
7
Maybe we should try giving artists jobs based on the quality of their work and not the color of their skin. Colorblindness cuts both ways.
8
I love J. Williams. I've been to guest-teacher classes of his. Also, I took a dance class from his wife. She's hot and smart as well.

I'm not sure. I think I mostly agree with Williams- Big, white corporate directors and theater boards get to "use" plays like Wilsons very conveniently- automatically giving them some diversity and social-issue credibility. But- theaters like Penumbra and the Pillsbury House and Mixed Blood are doing this work /all the time/, with smaller audiences and not as much visibility. And the Guthrie has no problem inviting smaller companies into its studio space to produce shows, but the Guthrie would never sponsor a show /at/ Penumbra.

On the other hand, largely white audiences should see August Wilson as much as possible, especially if they're not familiar with his work. So if theaters are producing him, even with a white director, then, great.

Directors should be able to identify with the material they are directing. It does NOT mean being colorblind, it just means seeing and wanting to investigate the play's issues for the unique problems they present. If the playwright has done a good job of making the issues and emotions universal and accessible (as Wilson does), then a wider range of artists and audiences can involve themselves.

Also, Twin Cities theater community represent. That is my 'hood.
9
Dude, in 36 days, nobody will care.

We're all Americans now.

And, news flash, white is the new minority, baby.
10
I think Williams' point is more germane to the issue at-hand. It's not that white directors shouldn't be doing "black plays", but that the institutional racism of which he refers presents itself in the dearth of opportunities (perceived at least - I cannot speak to the veracity of his assertion) for black directors to direct anything BUT black plays.
11
All blacks know how to do anymore is complain, complain, complain, and most of their complaints are, on their face, great arguments for voluntary re-segregation.
12
What I like is directors who cast outside of default.

You know, like Showboat with a white lead, or The Wizard of Oz where Dorothy is Indian and the Scarecrow is mixed race.

But, maybe that's just me.
13
@12 Most of the time when a director chooses the Indian Dorothy, it is a conscious "I want an Indian to play this part" rather than an unconscious "she's the most talented." or "she fits best into what I want this play to be."

This can be a great thing if the concept is original and well thought out but usually that is not the case. All a director will do is make a simple color tweak, without a clear specific vision (What Suzan Lori-Parks calls "simple math") and the results can be kind of insulting.


Please wait...

and remember to be decent to everyone
all of the time.

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