On January 20, the Cherry Hill Public School system in New Jersey announced their intent to censor racially charged language for their upcoming drama group’s production of the musical Ragtime at Cherry Hill High School East. The announcement prompted a vocal response from advocates on both sides of the issue: those who felt the language in the play was unacceptable under any circumstances, and those who believed that the play must be performed intact, with the potentially offensive words used to serve the work’s overall message of American diversity and inclusion.

On Tuesday, January 24, there were two hours and 40 minutes of public comment at a Board of Education meeting on the issue. Following that meeting, a private discussion was convened in Cherry Hill for a variety of stakeholders on all sides of the topic, which lasted more than two hours.

This afternoon, Dr. Joseph Meloche, superintendent of schools in Cherry Hill, released a letter stating that Ragtime would be produced as written, on its original schedule, with curricular enhancements implemented in the weeks leading up to the performance. What follows is an extended excerpt from that letter:

In coming to a decision, our focus remains on our students, on their safety and their development – which has always been and always will remain our top priority. Education must take place in a safe way, in a safe environment. The final decision regarding Ragtime was not made based on a vote. We do not deem any individual or group who voiced an opinion in the process as wrong. Nor is any person or group more valuable than another. We are greatly appreciative of all who have joined the hours of discussion, and for the respectful manner in which most conducted themselves.

These are tumultuous, difficult times. We believe that while these difficult times provide challenges in our educational community, they also provide an opportunity and an obligation to educate. We believe we can educate using difficult subject matter presented in a safe, sensitive way. To that end, Cherry Hill High School East will present Ragtime as written. The school community will be supported by curriculum and conversation leading up to and continuing through the show’s performance dates and beyond. The curriculum additions will allow all of our students to learn from the production without feeling threatened or disenfranchised. We will present resources and conversation regarding the production at each performance. We will make it abundantly clear that we loathe the N-word, that we despise this most vile of words in our language. We have been offered professional support in this endeavor from within the Cherry Hill Schools community and from professionals outside the community. We will be availing ourselves of those resources from now through the performance schedule of Ragtime at Cherry Hill High School east – opening on March 10, 2017 and closing on March 19, 2017 – and into the future.

We look forward to continued conversations with the stakeholders who have generously and respectfully offered their time and perspective to this process. We also look forward to our community treating each other with kindness and respect moving forward.

Words matter.

There is much work to be done. Please, join us in supporting our children – all of our children – in moving forward. Be a positive voice, be part of a positive change.

Sincerely,

Joseph N. Meloche, Ed.D.

Superintendent

Arts Integrity’s prior reporting on this issue, including statements from Brian Stokes Mitchell, who created the role of Coalhouse Waker Jr. in the original production of Ragtime, can be found here.

There is no question that there are racially charged words in the musical Ragtime, just as there were in the novel upon which it is based. In telling the story of black characters, of Jewish characters, of Irish characters at the turn of the 20^th century, these words are integral to portraying the racism and bigotry that were rampant in that era. The artists who created the show – Terrence McNally, Stephen Flaherty and Lynn Ahrens – and the many who have since staged and performed it, understand the ugliness that is inherent in that language and have not deployed it lightly.

In the two decades since Ragtime debuted on Broadway, it has been produced countless times and in countless venues. A most affecting concert version was performed this summer on Ellis Island, the very site where many immigrants entered the United States for the first time.

A production at Cherry Hill High School East in New Jersey, scheduled for March 10, is now facing censorship over the racial epithets embedded in the script. While the school says it is prepared to go forward with the show, it will do so by making unauthorized alterations in the text. In a statement, the school district said:

The Cherry Hill High School East community is approaching the production of this show from a learning disposition. Within our educational community we have been engaging in a dialogue regarding the offensive language in the show. We are indebted to the Cherry Hill African American Civic Association as well as individuals in our community for joining us in this discussion regarding the use of bigoted language in the script. After a very open and productive meeting between representatives from the East Staff and the Cherry Hill African American Civic Association, we confirmed the decision to remove offensive language from the enacted script. In addition, all students at Cherry Hill High School East will participate in learning activities stemming from Ragtime in an effort to use our history to further expose the ugliness of racism. We apologize for any negative impact that the potential inclusion of the racist language had on members of our community and we are thankful that we have educational leaders, student leaders, and community leaders with whom we can partner when concerns arise.

There will be a board of education meeting this evening in Cherry Hill where this topic will be addressed as well, albeit on an agenda that currently runs to 28 pages.

What the district has failed to address in any of its statements, or in interviews with NJ.com or the Philadelphia Inquirer, is that by making any changes to the script, they are in violation of both copyright law and the licensing agreement for the show. It is not the purview of anyone to alter a dramatic work without the author or authors’ approval, whatever their rationale. If it is the intention of the school board to affirm the school’s stated position, their legal counsel would do well to inform them that the school is predicating its action on a legally untenable premise and could well result in the loss of the right to produce the show.

Audra McDonald and Brian Stokes Mitchell in the original Broadway production of Ragtime

That said, it is important to understand that while schools shouldn’t endorse hate speech or action against any group, the enacting of our unfortunate racial history is not the same as propagating the language that was part of it. (This recalls a similar situation in Connecticut in 2011 over Joe Turner’s Come and Gone and the use of the n-word.) Informed of what is taking place at Cherry Hill High School East, Brian Stokes Mitchell, who was a Tony nominee for creating the role of Coalhouse Walker Jr. in Ragtime and won the Tony as Best Actor for Kiss Me Kate, in addition to receiving The Isabelle Stevenson Award from the Tonys for his charitable work on behalf of The Actors Fund, spoke to Arts Integrity about the importance of Ragtime and its language.

“It needs to be acknowledged,” said Mitchell, “that whether the people who complained are African American or white, I understand why they would be upset, given the tenor of the times and what’s been in the news. If this was an African American family, we must acknowledge that these words at this time represent a very old wound that has been freshly scraped open. There is a renewed feeling among some people that they can say terrible things against ethnicities, against women, against the LGBTQ community. For those in communities that have been historically marginalized, there is now the real belief that there is a segment of the population that feels newly empowered to be offensive. I understand and acknowledge that.”

“But,” he continued, “that is what the show is about. It is about terribly ugly things that happen to people and how they surmount that. Our country has an ugly history with race.”

“To take the ugly language out of Ragtime is to sanitize it,” Mitchell declared, “and that does it a great disservice. People should be offended by those words. But it’s not done in a way that glorifies the people saying it. Rather, it allows the show to take people on a journey. It’s Coalhouse’s journey, it’s Sarah’s journey, it’s the journey of the 20^th century and it’s still our journey today. The n-word is still thrown around without empathy.

“Ragtime is about how we get through ugliness, how we talk together, work together, get through it together. The show takes us to the next steps. That’s what our country needs to do.

[Edit, January 27: A 31-word quote from Mitchell that originally appeared here has been removed at his request, as he felt it was unclear when set down in writing, particularly after seeing it taken out of the entirety of the piece and used as his sole comment on the matter. He has offered a deeper clarification of his thoughts which appear at the end of this post.]

Mitchell observed that, regarding the school making alterations, “Changes are an infringement of copyright. It would be very unfortunate if because of this choice, the show can’t be done.”

Mitchell recalled a visit he made to Columbia High School in South Orange NJ in 2015, where he spoke with students about the show. Citing a question from the student who was playing the story’s most bigoted character, Willie Conklin, who expressed his discomfort at having to use the n-word, Mitchell said he reminded the student, “It’s not you saying it. It’s the character.”

In a follow-up letter to the school, Mitchell wrote:

I had been out of RAGTIME for a year when it played its last performance at the (then) Ford Theatre on 42nd Street. I wrote a letter to the company saying that although it was sad to see such a magnificent Broadway show close, the good thing was that RAGTME would no longer be the exclusive property of Broadway professionals. Now it would live where it really belonged – in the hearts, minds, hands and mouths of community theatres, college theatres and high school theatres EVERYWHERE.

Mitchell also recounted a six-page, single spaced letter he received from a young white man in Florida during the show’s original run. Saying that it was page after page about this man’s ordinary existence, leading Mitchell to wonder why the letter had been sent at all, he said that in the very last paragraph, the man that, after seeing Ragtime, “I realized I’d been a racist all my life and didn’t even know it.”

“You cannot have that experience if the language is toothless,” said Mitchell. “If you take that out, there’s nothing to have repercussions against. You have to take the ugly with the beautiful.”

While school officials have made a decision, it is not irrevocable. If there is the opportunity for further conversation—with the school, with the school board, with parents, with students, with the Cherry Hill African American Civic Association—Mitchell has offered to participate (and can be reached through the Arts Integrity Initiative). Because, he says, “They should do it [Ragtime, original language intact], be uncomfortable with it, and talk about it. One of the great things about this show is the discussion it engenders.”

Update 1/24 2 pm: To express support for an uncensored production of Ragtime at Cherry Hill High School East, click here to sign a petition.

Correction 1/24 3 pm: This post previously referred to the character of “Willie Conklin” as “Willie Calhoun.”

Addendum, 1/27 2:45 pm: Brian Stokes Mitchell has offered further thoughts and clarification on his remarks on the situation in Cherry Hill in writing, and they appear here in their entirety:

The original comments I made were in response to the High School’s desire to alter Ragtime’s script (specifically the excision of certain racial slurs) that could possibly lead to the loss of the right to perform the show due to copyright infringement issues. In addition, I was making a point about how the contextual use of those racial slurs sets up the trajectory of the characters in the show. It is the ugliness in Ragtime that gives the cathartic power to its tragically beautiful ending.

That being said, I want to acknowledge that I don’t know the specific issues that the parents who brought up the complaint are having. I also don’t know the opposing arguments of the parents who wish to do the show with the racial slurs intact or what the school district officials are facing. I do know that I am glad that this conversation has been initiated and engaged by the community and I am heartened to learn that the local NAACP is also involved in the process. I deeply respect and understand that there is concern about the brutality and offensive language in the show, particularly given the divisive nature of our present political climate. Although these are difficult times we are living in, I have faith that the conversations the Cherry Hill community is poised to have and their dedication to the welfare and development of their children will guide them on the best path to take.

What I can attest to is my personal experience with Ragtime and its cathartic and transformative power on an audience. I have experienced firsthand how Ragtime specifically (and I think art in general) has an amazing ability to heal by opening hearts and minds to the plight and concerns of fellow human beings whose lives and experiences might otherwise be marginalized, dismissed, or made not to matter.

Despite living in a time of overt racism, sexism, fear and xenophobia, the various characters of Ragtime each find their own individual sense of empowerment, understanding and interconnectedness. Together they confront something that is ugly, negative and dispiriting  and ultimately transform it into something beautiful, positive and inspiring.

I think those are good lessons to teach and to learn.

I sincerely wish the community of Cherry Hill the greatest success as they grapple together with the very issues that we face together as a nation.

Anyone claiming that there is equity or equality – by gender, by race and ethnicity, by disability – in the American theatre would have to be willfully ignoring the evidence. The Dramatists Guild’s The Count showed that only one in five plays produced in the U.S. is written by a woman. The annual survey of performers on Broadway issued by the Asian American Performers Action Coalition most recently showed that only 22% of Broadway performers in 2014-15 were people of color. The executive summary of a study of leadership in LORT theatres by gender states that at no time have more than 27% of leadership roles been held by women. Define your universe, choose your metric, and it seems quite clear that whites, particularly white men, remain in the majority.

That’s why it proves so maddening to so many when efforts to right the balance meet with opposition. Last week, in Raleigh NC, an effort to advance the cause of female directors in the city’s theatres began to fray just a day after it was announced. The participating theatres had agreed to hire only female directors for open directing slots in their 2017-2018 seasons; this followed on a Women’s Theatre Festival in the area this past summer. As reported by Byron Woods of Indy Week last week, with further updates just before Thanksgiving, a pseudonymous complaint of discrimination about the plan to the signatory companies and the Raleigh Arts Council was sufficient to have one theatre immediately withdraw and for Sarah Powers, executive director of the RAC, to re-emphasize the importance of their non-discrimination granting policy, and to say that the claim would be investigated.

For those who champion equity, as well as diversity, this sort of blowback is frustrating. After all, when statistics prove inequity, why do efforts to rebalance the scales get charged as discriminatory?  The fact is, while there is more than enough evidence to demonstrate a tacit pattern of discrimination favoring white men in the theatre, there is no explicit policy. But when there is a concerted, verifiable attempt to favor any subset of the population while excluding others in hiring, anti-discrimination policies and laws kick in, because they were designed to protect everyone from discrimination, not only defined populations.

It’s troubling that in the Raleigh situation, the complainants – there are now two – are pseudonymous, with Indy Week unable to verify their identities. But the press release about the Raleigh initiative on behalf of female directors is verifiable, as are the companies participating.

The situation is corollary to the one experienced by the musical Hamilton earlier this year, when a casting notice sought “non-white” men and women for its multicultural cast. While it is entirely within the purview of the production to choose actors according to the desired characteristics of the roles, the explicitly exclusive language about the actors being sought put the show at risk of violating discrimination statutes, as well as the policies of Actors Equity. It was quickly revised, even as the production made clear that its creative intent was unchanged.

Looking to the future, we are now less than four years away from the intended start of The Jubilee, an initiative begun by, per its organizing principles as stated on Howlround in October 2015, “a self-organized group of theatremakers from around the country,” asking both theatre companies and individuals to sign on to the following:

 In order to address equity in the American Theatre and in my community, I pledge to support a diverse, inclusive, and intersectional vision in the 2020-2021 season:

Every theatre in the United States of America will produce only work by women, people of color, Native American artists, LBGTQIA artists, deaf artists, and artists with disabilities.

It’s impossible not to look at the Jubilee plans in light of the Hamilton and Raleigh precedents, and indeed the political and social outlook of the still-forming new federal administration.  Similar initiatives could face an uphill legal battle, although The Jubilee may be protected by the fact that playwrights are not defined as employees under prevailing labor law. Public perception is another matter, especially at a time when apparently some white men perceive their primacy as being reinforced as a result of the presidential election.

However, this doesn’t mean that diversity and equity cannot be proactively addressed. In Hollywood, the U.S. Equal Employment Opportunity Commission is more than a year into investigating the gender imbalance among film and television directors, prompted by efforts from the American Civil Liberties Union. If the theatre field doesn’t self-police and initiate real change in the face of overwhelming statistics, it might one day find itself under comparable investigation.

The myriad circumstances, practices and excuses that have maintained the American Theatre as a majority white male domain are unjust and unfair. None of the foregoing is intended to dissuade efforts towards equity, diversity and inclusion, or to suddenly treat white men as a specifically protected and oppressed class. But as various constituencies in the arts work to correct the historic imbalances, they need to remain aware of the legal ramifications of their efforts, and the language in which they define them, even given the significant irony of those seeking to end discrimination potentially running afoul of anti-discrimination laws.

Union Square Incident premiered on November 14, 2016 as part of The 24 Hour Plays on Broadway (Mark Armstrong, Executive Director; Tina Fallon, Founding Producer) at the American Airlines Theatre. It was directed by Elena Araoz with the following cast: Ashlie Atkinson, Jason Biggs, Michael Cerveris, Russell G. Jones, Olivia Washington and Julie White.

Warren Leight’s plays include Side Man (Tony Award), No Foreigners Beyond This Point (Drama Desk nomination), Glimmer, Glimmer and Shine (ATCA nomination).  In TV he’s been the Showrunner and Executive Producer of Law and Order: SVU (Imagen, NAACP, and Prism Awards), In Treatment (Peabody Award), Lights Out, and the Edgar-winning Law and Order: Criminal Intent.

Union Square Incident is copyright © 2016 by Warren Leight. All inquiries regarding rights should be addressed to John Buzzetti, WME, 11 Madison Avenue, New York NY 10010, 212-586-5100. Professionals and amateurs are hereby warned that performances of Union Square Incident are subject to a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention and the Universal Copyright Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including professional, amateur, motion picture, recitation, lecturing, public reading, radio broadcasting, podcasting, television, video or sound taping, all other forms of mechanical or electronic reproductions, such as information storage and retrieval systems and photocopying, and the rights of translation into foreign languages, are strictly reserved. Particular emphasis is laid upon the question of readings, permission for which much be secured from the author’s agent in writing.

Photos © Howard Sherman

*   *   *

Jason Biggs and Ashlie Atkinson in “Union Square Incident”

Lights up on a bare room with a few benches and one door upstage left or right.  We will learn it’s a holding pen of some sort. On one bench, a black man, RUSSELL, is seated.  His pockets have been emptied and turned inside out. He has no belt or shoelaces. He’s stressed out. In a corner, rocking back and forth, ASHLIE, a Brooklyn activist, is clearly in a deep state of distress. She doesn’t even notice now as the door opens. And MICHAEL, a middle-aged, Upper West Side white male, enters. Pockets turned inside out. No belt. He tries to bargain with JASON, the bro-guard, at the door.  

Michael  If I could just have my phone, for a second.  My wife is, she’s not well.  She’s been anxious ever since the…  I need to let her know where I am.

Jason  As soon as everything’s cleared up, you can make a call.

Michael  She’ll be worried. I need to let her know where I am..

Jason  I’m sure she’ll be fine. Okay, pops. Just relax. (to Ashlie) Hey you, my twitchy friend.

Jason goes to Ashlie, who is startled by his touch.  He motions her toward the door.  She’s broken.

Jason  Guess what?

Ashlie  I give up.

Jason That’s all we wanted to hear. And now, let’s see that smile of yours, from your Avi. (He mimics her Avi smile) You are free to go.

Ashlie  Really. That’s it?

Jason  (for everyone’s benefit) I told you, if you have nothing to worry about, you have nothing to worry about.

Jason walks Ashlie out.  The door closes in Michael’s face.  He looks around.

Michael  Where am I?

Russell  I don’t know. I don’t think it’s the Tombs. Some place new they must have set up.

Michael  New place?

Russell  I thought we went over a bridge. And it feels kind of… off the grid. I imagine they want these places out of public view.

Michael  C’mon, it’s a little soon for all that to be happening. Don’t you think.

Russell  They knew they were going to win. They must have had it in the works.

Michael  You know, no offense, you sound a little…  paranoid.

Russell  Okay, so what do you think is going on? We’re like, being punked for a Prank TV show.

Michael  I don’t think we’re under arrest.

Russell  Not officially. They’re supposed to tell you if you’re under arrest. They tell you anything?

Michael  I was marching. Up from Union Square. They said everyone move to the sidewalk. I tried to move, but it was crowded, before I could get there, these two guys grabbed me –

Russell  Were they in uniform?

Michael  No. Suits.

Russell  Could be FBI? Or some bullshit Task Force.

Michael  They put me in a van. Then here. They took my wallet. My cell phone.

Russell  Did you shut it down first?

Michael  No.  I mean, he asked for my cell — he said it was protocol.

Russell  You got to shut it down. And have a strong password — they’re probably putting your photos through facial recognition.

Michael  It’s mostly just pictures of my kids.

Russell  Also going through your emails, your social media, your texts. And every place you’ve been is geo-tagged. Unless you’ve been using a Tor browser, or a two-factor authentication on –

Michael  My wife and I share an AOL account. I don’t think we ever set that –

Russell  AOL? Nah… I don’t think you did.

Michael  Anyway, they can’t go through the email… not without a warrant.

Russell  I wish I had a pen right now. I keep a little list. I call it “funny shit white people say.”

Michael Cerveris, Russell G. Jones and Julie White in “Union Square Incident”

The door opens again. JULIE walks in. A very angry, put-together middle-aged white woman. She has no purse; if wearing pants, her pockets are turned inside out. No jewelry. Except for a Hillary button. She’s going at it, with Jason, who’s annoying the fuck out of her.

Julie  You can’t actually do this, you know. You can’t detain people without –

Jason  Ma’am, instead of being all upset, just try to relax –

Julie  Relax. Relax and enjoy it? You can’t do this!! I am a lawyer. I know my rights.

Jason  No one is violating anyone’s rights. You’re not being detained.

Julie  So I’m free to leave?

Jason  Just as soon as everything is cleared up. Are we good.

Julie  NO, bro, we’re not good. And if you can’t talk to me, without patronizing me, I’d rather you not talk to me at all.

Jason  Suit yourself. Have a nice day.

He closes the door on her. She looks around.

Julie  That little pissant son of a bitch. “You’re not being detained.” He just lied straight to my face.

Russell  If nothing else, they have turned that into an art form.

Russell gets up, as Michael helps Julie to a bench.

Julie  This really is completely illegal.

Michael  You’re a lawyer?

Julie  What are you?

Michael  An aging liberal.

Russell  With an AOL account.

Julie  Ha! You two were marching?

Russell  I saw them taking this girl down. In her twenties. I started to video it –

Julie  Which is perfectly legal.

Russell  For now. And… I end up here. I don’t know what happened to the girl.

Julie  These motherfuckers…  “Don’t worry, he doesn’t mean those things he’s saying. It’s just to get elected. There’ll be checks and balances. It can’t happen here. It won’t happen here.”

Michael  Guys, take it easy, nothing is happening here, with all due respect –

Julie  Don’t fucking say that.  Anytime any man anywhere says all due respect, it means he has absolutely no respect for you, or for that matter, any woman.

Michael  You’re sounding a little hys — (catches himself)

Julie  Hysterical. Go ahead, say it. Go on.

Michael looks to Russell, hoping for what, male support?

Russell  Don’t look at me. I’m with her.

Julie  Do you know what this year has told me. I don’t matter. The only reason a woman ever matters is her vagina, and now that mine’s too old and He doesn’t want to grab it, it’s okay for me to be marginalized or discarded or vilified. Even by other women.

She breaks down.  Russell awkwardly comforts her.

Michael  I’m sorry. I wasn’t trying to negate –

Russell  Give her a moment.

Julie  No… tell me. What weren’t you trying to negate?

Michael  Your feelings.  It’s just… we’re all feeling raw.  But, I have to believe things aren’t going to be as bad as everyone says. It’s easy to demonize the other side. To assume the worst. If we could try to understand where they are coming from –

Russell  Oh I know where they’re coming from. The KKK, the FBI, the KGB — this wasn’t an election, it was a coup d’etat.

Michael  No… it was an election. We lost. They won.

Julie  First of all, they didn’t win. Second of all, they rigged it.

Michael  Now who do you sound like? It’s not rigged. He tapped into something.

Russell  American Homegrown Racism, brewed to perfection.

Michael  Yeah, some of that. And some genuine anger, and frustration. And — let’s be fair. She had a lot of baggage.

Julie  Don’t you dare. Do not start with that false equivalence bullshit. He’s a draft dodgin’, tax dodging, climate-change-denying racist misogynist, who will deport your family and potentially destroy the world, or at least all civil liberties, but — hey, how about those emails.

Michael  It wasn’t just the emails. Or the KGB or misogyny or racism or even her not having a message. It was a perfect storm.

Julie White in “Union Square Incident”

The door opens again. And now OLIVIA, a young black woman enters. She’s a mess, she’s been crying. She’s bruised, clothes a little ripped. 

Jason  Here we go. Nice and easy.

Olivia  I want to see him. Why can’t I see him.

Jason  Why don’t you just sit down. Let your friends here take care of you. (to the rest) Folks. This young lady’s had a bit of a hard day. Can you make some room for her.

Olivia all but collapses into Michael and Russell’s arms. They walk her down to the bench. Julie helps hold her there. She’s in some kind of shock.

Olivia  They must have shot him. He might be dead.

Michael  No one’s been shot. That’s not going on –

Russell and Julie glare at him.

Julie  Do any of us have any  idea what’s going on? (off  Michael) I don’t think so. So how about we ask her what happened to her, instead of telling her?

Michael  (chastened) What… happened?

Olivia  They were putting some people in these pens. You know, with the metal rails. And my boyfriend, he noticed two of them weren’t on right, so he worked them apart. We squeezed through, and ran. Down the block, and right into this group of, I don’t know, counter-protesters. I guess. They came like, out of nowhere.

Russell  (sotto) Or not.

Olivia  They saw us, started chanting all kinds of names. By then the Security People were behind us, but instead of stopping them, they let the mob beat on him, and pull on me. Grabbing at me, everywhere. Finally one of the Security says, that’s enough, fellas. And they stop. Part like the Red Sea. Security took my boyfriend away, he was bleeding bad from the head.

Julie  I’m so sorry.

Olivia  We weren’t even marching. Just came up out of the subway at Union Square and it was on. I tried to tell them that, but –

Russell  It doesn’t matter. Wrong race, wrong place, wrong time.

Michael  I can’t believe this  — it can’t be — this isn’t happening. Not in New York. New York is different. You heard the Governor, he said it would be a sanctuary.

Russell  And you think the new regime is just gonna be ok with that.

Michael  Yeah. I do. I know my city, I know my county.

Julie  So we’re all paranoid, and it’s just a little swing of the pendulum. And nobody’s rights are going to be taken away…

The door opens.  Jason comes in, with a big smile on his face.  He has a RED BAG for Julie.  A TIE for Michael.  Cell phones, belts for Michael and Russell. 

Jason  Okay. That didn’t take so long did it.

He hands Julie, Michael, and Russell some of their possessions back. 

Michael  We’re okay to go?

Jason  Like I said, if you have nothing to worry about, you have nothing to worry about. Sorry for the inconvenience. What we’re dealing with, there are a lot of moving parts. But cut to the chase, there’s no reason to detain you any longer.

Julie  You said we weren’t being detained.

Jason  (almost laughing) Are you sure I said that? Either way, it’s in the past. Right?

Russell  (looks at cell phone) My photos have been removed.

Jason  Oh have they. I’m sorry about that. It must have bounced around a bit.

Julie (checking bag) I had a cell phone, where is it.

Jason  If it turns up, we know where you live. Anyway, I know you all don’t want to be here any longer than you have to, so let’s not worry about the little losses, okay.

The four look at each other. 

Michael  Guys…

Russell  Fuck it, let’s go. (Russell looks to Olivia, who may be in shock. He goes to help her up.) C’mon, sweetheart, the door’s open.

Jason  Actually. Not so fast there. Right now, it’s open for you three.

Russell  You said we were all free to go.

Jason  Did I say all? I don’t think I said all. She’s had a rough day, we just want to make sure we know, and she knows what’s what before she goes home. Nothing bad’s going to happen.

Julie  But she will be going home.

Jason  Everyone’s a winner here. So many winners. Believe me. Eyes on the prize everyone. (to Michael) I know you want to call your wife, she must be worried sick.

Jason leads, Michael starts to follow.  Then Jason notices Russell and Julie are looking at each other.

Jason  Folks, operators are standing by. Make your move.

Russell  I believe I’ll sit awhile. Keep this young lady company.

Julie now turns, goes back to Olivia as well.

Julie  I’ll stay too. You said it’s just a little while. So, why not.

Jason  To be honest, there’s no way of knowing how long this is all going to last.

Julie  (sharp) No there isn’t, is there?

Jason, whose tone has been jocular throughout, suddenly turns full-bore threatening.

Jason  Are you people kidding me. You’ve done nothing but bitch and complain since you got here. Now I hold the door open for you, and you pull this crap. For this friggin whore.

Julie  You won. You people fucking won. Why are you still so angry?

Jason  What you said before, about being marginalized, discarded, you got that right.

Julie and Russell realize they’ve been recorded.  They glance around for cameras.

Jason  C’mon pops, you don’t need these losers.

Michael  Actually, I might as well wait too.

Jason Are you FUCKING kidding me, you stupid cuck. We’re not playing around here. This isn’t a feel good after-school special.

Michael  I think we get that.

Russell  But this young lady, she’s frightened, so for now, we’ll just stay with her.

Jason  This could take a lot longer than you realize.

Julie  No, we know. So… until it ends, we’re just going to be here for each other.

LIGHTS OUT.

To be clear from the very start, two points. Judi Honoré, the owner of Shakespeare Books & Antiques in Ashland, Oregon, has every right to display anything she chooses in the window of, or for that matter anywhere in, her store. The Oregon Shakespeare Festival, also located in Ashland, Oregon, has every right as an organization to express its institutional opinion about events locally or nationally as it sees fit, and to align its business practices accordingly.

These rights, however, came into conflict this summer, when a window display of banned books at Shakespeare Books & Antiques, which has been in place (albeit with rotating inventory) for the past several years, was perceived by members of the OSF company as making a racial commentary about a current OSF production. Specifically, the origin of the dispute arose from the juxtaposition of an edition of Little Black Sambo to a collection of L. Frank Baum’s Oz books, while OSF was producing The Wiz, the retelling of The Wizard of Oz with an all-black cast.

The controversy has extended throughout the summer, and continues to simmer. OSF is still developing plans for a town hall meeting intended to allow members of the community to share their opinions of what has emerged from expressions of discomfort over the window display and its significant aftermath. But before that happens, on Monday October 31, Shakespeare Books & Antiques will close. So how did this come to pass, that ideals of social consciousness and free speech became seemingly oppositional positions?

*   *   *

For those unfamiliar with the children’s story Little Black Sambo, it recounts a simple, non-realistic tale of a child who is sequentially threatened by a group of tigers into parting with all of his clothes, then driven up a tree, after which the tigers fall to squabbling and end up chasing one another by their tails at the base of the tree until they somehow melt into butter, which is then brought home by the child and used by his mother to make pancakes for the family. The book, by Helen Bannerman, first appeared in 1899 in England, and has been republished and retold in numerous editions ever since.

While the original preface stated that it was written by “an English lady in India, where black children abound and tigers are everyday affairs,” some versions employ illustrations more evocative of Africa, while others conflate the two.  The depiction of Bannerman’s little boy and his family has also varied widely, from relatively realistic to grossly stereotypical, with some editions employing iconography more akin to those often seen in the early 20th century American South, as also seen in a 1935 animated short based on the story.

Within decades of its appearance, LBS, while one of the relatively few children’s books with a black protagonist, was increasingly perceived as racist. Langston Hughes cited the book as being of the “pickanninny variety,” writing that the name “Sambo” was “amusing undoubtedly to the white child, but like an unkind word to one who has known too many hurts to enjoy the additional pain of being laughed at.” Even after LBS began to be removed (and banned) from schools and libraries, the name was taken up by a chain of US restaurants, started in California in 1957 as their brand, growing to more than 1,100 outlets by the 1970s before collapsing (after an attempted rebranding) in the 80s.

New editions of LBS have continued to emerge, with some making efforts to address the racial portrayals, particularly with regards to the illustrations, including some which have sought to more accurately bring accuracy to the setting of India. But the name remains a racial slur in the minds of many people, as it already was when the book was first published.

*   *   *

Portion of banned books display at Shakespeare Books & Antiques in Ashland, Oregon in September 2016

The context for the display in the Shakespeare Books & Antiques (SBA) window is provided by two signs. The first, shown within a frame in the display itself, reads:

BOOKS REFLECTING THE HISTORY OF RACISM IN THE UNITED STATES

Our position is that these books should still be available to read during these critical time [sic]. As Scott Parker-Anderson so eloquently wrote for the Library of Congress, “The truth about the past can make people uncomfortable, but it does not change the truth. There were slaves, they were treated horribly, and called horrible names. Those are the facts, that cannot be changed. REMEMBER, those that forget the past are doomed to repeat it.”

The second sign, affixed to the window, reads:

BANNED BY SOMEONE, SOMEWHERE, SOMETIME

We believe attempts to censor ideas to which we gave access, whether in books, magazines, plays, works of art, television, movies or songs are not simply isolated instances of harassment by diverse special interest groups. Rather, they are a part of a growing pattern of increasing intolerance which is changing the fabric of America. Censorship cannot eliminate evil, it can only kill freedom. We believe Americans have the right to buy, stores have the right to sell, and authors have the right to publish constitutionally protected material.

In a photo of the SBA window dating from the start of the dispute, two LBS books can be seen: one an edition of the original story, the second an apparent sequel by a wholly different author and illustrator, Little Black Sambo and the Monkey People. It is the former which is placed adjacent to the Oz books and a framed list of the many Oz titles. Also visible, but only by their spines, are Uncle Tom’s Cabin and a collection of the Uncle Remus stories.

Describing other parts of the display, Honoré, in an interview, said, “The Color Purple may have been there at the time, but I’m really not sure.” She went on to list the aforementioned books, as well as two copies of Huckleberry Finn and To Kill A Mockingbird.

The placement and proximity of LBS and the Oz books first came to light when four ASF company members, including actors from The Wiz company, which at the time was still in rehearsal, went to speak with Honoré in June. The accounts of the conversation given by Honoré and Ashley Kelley, one of the actors present, are fairly similar.

In Honoré’s description:

Middle of July, four actors were outside looking in my window. I didn’t know they were actors, they were just four black people. I went outside like I usually do and said, ‘Can I explain to you why any of these books are banned?’ and they said, ‘We’re actors in a play called The Wiz, which is playing here, and it’s an all-black cast and we object to the fact that you have Uncle Tom’s Cabin, Little Black Sambo, Huck Finn, To Kill a Mockingbird, these books right next to the Wizard of Oz book. Why do you have them that way? What kind of message are you trying to send?’

I said, ‘I’m not trying to send any message, they’re all just banned books. They said, ‘Well, we feel you’re trying to send some kind of a message,’ but I still don’t know to this day what kind of message I was supposed to be sending. I honestly don’t. But they saw me sending some horrible message by having them in that order. So I said, ‘Why don’t you come in and what we’ll do together is we’ll move them. If you’re that offended and you feel bad about it, we’ll move them together.’

Honoré notes that in moving the books, they were never removed from the window, but merely relocated away from the Oz books.

Via e-mail, Kelley described the encounter with Honoré as follows:

We went inside to talk to Ms. Honoré and we proceeded to have a peaceful conversation. We asked her what the inspiration was for the display and she began explaining the history of the books, not understanding what we meant. I told her specifically that I’m sure it wasn’t intentional but unfortunately the display as it stands is making negative commentary about the people in her community. Still not understanding, I explained to her that The Wiz was happening across the street which is the African American version of The Wizard of Oz.

She claimed she didn’t know there was such a version or that OSF was doing it. I told her that THAT was why we are offended by the display, the placement of these books that exploited African Americans next to the entire Wizard of Oz collection. I stressed again that I didn’t believe it was intentional but that unfortunately whether she knew or not it was making a statement. She kept defending why she had the black books to us and I in turn responded by telling her it wasn’t about the fact that she had those books and that I understand why she has them in the first place. My only issue was that they were next to all the Oz books…that’s all.

She finally understood and asked me what to do. Then SHE came up with an idea to move the books from the window and asked us if we would like to help. We said yes, walked inside with her and helped her move the books elsewhere. After that we stood with her for a while talking about her background and had a very pleasant conversation. We introduced ourselves. I thanked her for listening and for talking to us. We hugged and left her store.

After this, I sent an email to my cast to tell them about the positive experience I had with Ms. Honoré and that it was a very proud moment especially with all the horrible things happening with people of color all over the country and even in our town.”

*   *   *

Shakespeare Books & Antiques (from their website)

If that had been the end of the issue, with hugs, it would indeed stand as a positive moment for all concerned. But things quickly became complicated.

Ashley Kelley expressed surprise as to the fallout, writing:

It was brought to my attention weeks later that the display had been put back and that Ms. Honoré was upset with me for telling people what happened at OSF…which I didn’t understand because the email was a positive representation of her and the bookstore because we were able to peacefully talk and come to a solution. Then all of a sudden there were SO many people involved and the story seemed to shift to “we asked her to remove the books from the store.” which was NOT the conversation at ALL.

I was honestly very disappointed in how such a positive moment turned sour based off of lack of communication it seems. I was under the impression that everything was handled after my initial encounter with her. Little did I know there were more conversations, other emails, letters, etc. that I had no involvement in.

Claudia Alick, the community producer at OSF, who also chairs the company’s Diversity and Inclusion Planning Council, said in an interview that after learning of the encounter, she had discussed the conversation at the bookstore between the company members (three of whom were actors and one staff member, per OSF’s press office) and Honoré in a “healthy conversation” with Cynthia Rider, OSF’s executive director, who indicated that she wanted to speak with Honoré. Alick said she then went home to prepare an agenda for that conversation.

That same day, Rider called Honoré, asking to meet and discuss what had occurred. Honoré says that Rider said, “I’d like to discuss with you your banned book — she didn’t say banned book, she said your public window display — and protecting my staff. That was her exact language.” Honoré then describes her decision not to wait for a meeting with Rider at the store, and instead closing the shop and heading straight to OSF to ask for an immediate meeting with Rider. She ultimately met with Rider and with general manager Ted DeLong in an impromptu session. Alick had already left the OSF campus.

Julie Cortez, communications manager of OSF, relating Rider’s impression of the meeting, wrote that, “While Cynthia says Judi seemed upset when she arrived, by the end of the meeting their relationship seemed cordial.” Honoré describes the meeting as more problematic, saying, “I knew I was in deep trouble when Ted DeLong [OSF’s general manager, who also attended] said he thought Huck Finn was a horrible book.” Honoré says she was asked to remove the books from the window.

Further describing the meeting, Honoré recalled, “I said, ‘If you have a group of students and they’re really dumb and you keep telling them they’re really smart they will become smart. Vice versa if you have a group of students who are really smart, you keep telling them they’re dumb they will become dumb. If you have a sweet little town like Ashland and you keep calling us racist, it will become racist. I think the positions you guys have been taking have been incorrect.’ I don’t think they appreciated that much.”

*   *   *

Some may recall that Ashland and Oregon Shakespeare Festival were in the news this summer for another racially based incident, which was widely shared on social media and subsequently reported in mainstream media outlets. In that case, a man verbally attacked a black actor in the OSF company as she walked down the street, shouting, “It’s still an Oregon law. I could kill a black person and be out of jail in a day and a half. The KKK is still alive here.”

News reports indicated that the man who threatened the actress was likely a local homeless man who was known to the Ashland Police for other aggressive actions. The police determined, according to a report in the Mail Tribune, that “no crime had been committed,” even as they were “decrying this hateful speech.”

Asked about that incident, vis a vis the conversations over her window, Honoré was dismissive, saying, “One black actress was apparently yelled at by our town schizophrenic who said horrible things, but he yells at everybody, including me. If I don’t give him a dollar, he’ll say something like, ‘I’m going to kill you.’” She went on to volunteer, “They said the police officers were picking them up for no reason whatsoever, and they had to ride around in a car with a white person or they felt like they’d be targeted and get picked up. None of that is true. I mean I know our little sweet town and that doesn’t seem to happen here. And then they also said that if they go into a store and they’re asked more than once, ‘Can I help you,’ they’re being targeted for shoplifting.”

However, that incident happened in late June, subsequent to the meeting between Rider and Honoré, but before the dispute between SBA and OSF became widely known.

*   *   *

Immediately following the meeting between Honoré and Rider, Honoré says she went back to her store, upset at learning about the e-mail that was circulated and Rider’s original request to come to the bookstore and discuss the display. So she returned LBS to its original location in the window.

“Honestly, I felt like I was either sandbagged, slapped in the face or backstabbed, when they went back to OSF after I felt I had done something really nice for them. After I had temporarily moved it, then I put it back where it was. But that was for maybe a day, and then I thought better of it and I moved them way to the end again.”

Claudia Alick subsequently visited the store and had her own conversation with Honoré, who Alick says recounted her studies in college (Honoré attended UC Berkeley in the late 60s and early 70s, where she wrote her thesis on sexism and racism in textbooks) and repeatedly protested, “I am not a racist.”

Alick says that after listening to Honoré for ten minutes, she interjected, “I never said you were a racist. Nobody said you were a racist. Those words haven’t come out of anybody’s mouth. I just wanted to know what was the decision made, because I think that I might have a different understanding of that decision, because you put the display back and I’m confused by that. And so then there was another ten minutes where she finally admitted that she was pissed and those were her words. She was pissed at the actors for – and in her words it was for – ‘sending nasty e-mails about me.’”

In a separate interview, OSF artistic director Bill Rauch spoke to the issue of leveling charges of racism at anyone:

[LBS] is a much beloved story for many, many people, especially older people who either had it read to them by their parents or read it to their own children. That’s come up again and again and again. Some of the emotion people have felt has been that by OSF saying, ‘We do not support the juxtaposition of those original racial caricature drawings on the cover of that book being juxtaposed next to The Wizard of Oz,’ they felt that we were personally attacking a story that was a beloved part of their childhood and therefore somehow calling them racist for liking that story.

Alick says she informed Honoré that, “It’s interesting that you said those e-mails were nasty. I can share with you that it was just them sharing their own personal experience and they didn’t say anything that was negative or nasty about anyone. It was actually pretty generous and kind framing and language that was used to describe what happened.”

According to Alick, after further conversation with Honoré about how the display might prove troubling not just to artists but to any persons of color walking down the street, Honoré asked, “What do you want us to do?” Alick says she responded, “No, we’re not going to tell you what to do. I just wanted to get clarity about what you were doing. You get to decide what you’re going to do.”

Alick says she was aware of other OSF staff members having one-on-one discussions with Honoré, emphasizing that they were private, personal communications. But Alick says that, “[Honoré] started coming to the festival, and stopping people of color and – I’m going to use the word harassment – harassing them, saying ‘Aren’t you in The Wiz? Well this, this and this.’ She did the same thing to me, where she stopped me on the street and had just a really kind of gross exchange with me that wasn’t kind, that was so problematic. And so organizationally, people of color asked essentially, ‘Hey, would you please do something?’ We’re like, ‘Well, the only thing we can do is let her know privately we won’t be doing business with you. We won’t be investing in your services in the future because you’re treating our company members this way.’ It wasn’t a comment on her public display. It was a comment on her direct behavior with our company members.” She later added, “We didn’t do anything public.”

Honoré recounts writing a letter to Rider on July 18, in which she set out the events regarding the window display and all that had transpired much as described here, adding her account of a positive conversation with another OSF actor of color regarding the display, which had prompted her decision to once again shift the Sambo book away from the Oz books. She also expresses deep upset with all that has occurred, including being called a racist by someone she describes as an OSF actor. She concluded the letter by writing, “In my opinion, Ashland, and this includes our residents and our police department, are profoundly inclusive and make every effort to reach out to everyone, as are the merchants of this very special small town.”

*   *   *

On July 26, Rider sent the following letter to Honoré:

I am in receipt of your letter of July 18 describing your recent experiences with OSF staff and actors regarding your display window.

For myself, my colleagues in senior management, and those most deeply involved in the work of expanding diversity, equity, and inclusion here at OSF and in Ashland, the most important facts, which you allude to in your letter, are as follows:

1. You received feedback from various OSF staff members, who are by definition your fellow community members, that your window display that included blackface caricatures was hurtful and offensive due to their racist origins.
2. You removed the display.
3. You heard reports that emails were circulating at OSF regarding this chain of events, and decided to reinstall the display.

Through these events, you have demonstrated a distinct lack of empathy for the experiences of the people of color who brought this matter to your attention and their reactions to your display, and reinstating the display caused continued pain to those individuals and by extension to the Oregon Shakespeare Festival.

Because of this, I am by this letter informing you that Artistic Director Bill Rauch and I have given instruction to our staff not to patronize Shakespeare Books & Antiques for any Festival-related goods or services until further notice.

*   *   *

On August 4, the dispute between Honoré and OSF went fully public, in an article in the Daily Tidings (reprinted the following day in the Mail Tribune), resulting from Honoré sharing Rider’s letter with the paper. This marks the first time the word “boycott” appears to have been used in connection with the situation. The article also mischaracterizes Rider’s letter as a “ban on OSF staff purchasing items from the store,” instead of the actual language, which only proscribed staff from making purchases on behalf of OSF at the store. This occurred despite the article later quoting a letter to the editor from Rider and OSF artistic director Bill Rauch clarifying that they had not called for a boycott. But that became the prevalent narrative for the ensuing weeks.

While various letters to the editor played the dispute out in the local papers, as people took sides, the next major account of the situation came slightly less than four weeks later, when on August 30, the Daily Tidings reported that Honoré had decided to close her store, giving two months notice to her landlord for a closing on October 31. Honoré attributed the closing to a significant drop in business in the month of August, as well as the stress of responding to the conflict that had arisen with OSF. She said that in contrast to typical summer months, when her business averaged $20,000, her first 12 days of August yielded on $2,355 in sales and that on August 22, her total sales were $59.

In that article, the reporter John Darling included a statement from OSF, quoting it as follows,

If Judi is seeing a reduction in her business, that is either occurring for unrelated reasons or due to her decision to go public in the media and in her store windows,” the email said. “Given that OSF has only made one or two small purchases for Festival use at Shakespeare Books & Antiques over the years, the decision … was not about causing Judi financial hardship, but about communicating to our colleagues of color that we believe them and stand with them.

While Honoré in an interview described a seemingly dictatorial rule by the leadership of OSF over its staff (“She tells them what to do over there apparently and they do it,” Honoré said, referring to Rider), she was not able to provide any evidence that the OSF staff had been ordered away from her store for personal purchases. She affirmed that OSF had not revealed anything publicly about its communications with her, saying “They didn’t go public, I went public, and they’re calling the conversation I had with them a private conversation. Nobody told me that it was private.”

OSF shared with Arts Integrity a short memo they had given to “front line staff” to help answer questions from patrons about the situation, but the theatre’s first sustained public communication to the community, signed by Bill Rauch, headed, “A response to the ‘bookstore story,’” wasn’t issued until September 2.

It read, in part:

OSF has never sought publicity or media attention for its ongoing discussions with Judi about her window display. We intended privacy for all of our communications, written and verbal, prior to Judi reaching out to the Ashland Daily Tidings (a publication for which Judi’s husband is a columnist). I would like to emphasize that not once has anyone at OSF called for a public boycott of Judi’s bookstore. Our employees are, of course, always free to shop anywhere for their personal purchases, and before today we had never brought up this subject in any communications with our patrons or membership.

I stand by our decision not to do business with a person who has treated members of our company and community with disrespect. Since Judi went public about OSF’s decision, we’ve received numerous reports from staff and patrons about problematic and insensitive interactions in and outside of her store and on the OSF campus. Our attempts to continue the dialogue with her—with a mediator, if she would prefer—have gone unanswered.

Separately, Honoré said that she had asked Rider to visit the bookstore – Rider’s original intent in requesting a meeting with Honoré – but that Rider declined.

In the next to last paragraph of his community letter, Rauch wrote:

Free speech is necessary, but not all speech is neutral; all language, images and symbols are not equal. The fact that speech can be damaging must be acknowledged. As an institution and as individuals, how we use our right of free speech is a moral choice. It is not neutral to propound messages that deepen the isolation and oppression experienced by members of groups that have been historically marginalized. Propagating images that were historically stigmatizing to black people and that some people continue to experience as hurtful and stigmatizing is not a neutral act. In my view, we grow most when we listen with empathy and curiosity to all those who are different from us about their own life experiences.

*   *   *

It’s worth recalling Ashley Kelley’s comment about what has transpired in Ashland, “I was honestly very disappointed in how such a positive moment turned sour based off of lack of communication it seems.” In conversation and written material, both Honoré and the OSF leadership expressed the feeling that each “side” was not listening to or understanding the other. That is the very definition of a lack of communication.

The situation escalated not because of the conversation between the four company members and Honoré, but only when Rider asked to arrange to meet with Honoré, who then opted to precipitate an immediate conversation. Rider perceived that meeting as having begun in conflict but concluding well, however Honoré’s takeaway was both frustration with Rider (who she called “elitist”) and anger that the conversation about the window display had gone beyond herself and the four actors, causing her to reverse the results of that meeting.

While the original conversation between Honoré and the four company members, and the meeting between Honoré and Rider, occurred first, the late July exchange of letters between Honoré and Rider occurred after the incident in which a black actor at OSF was verbally abused. An atmosphere of concern over the treatment of people of color in Ashland had been heightened as the bookstore dispute played out over a number of weeks. As in all cases, a specific event shouldn’t be the pretext for diminishing the rights of others, but the bookstore situation was thrown into sharper relief by the intervening incident.

Bill Rauch noted, “I do think that for members of our community who feel Ashland is such a progressive community, that there can be no racism in our town, that if a person of color says they’ve experienced racism in our town that it’s the problem of the person of color, that they’re oversenstitive, that they’re being overly cautious and that the racism is not real. I think the juxtaposition of these things has triggered a lot in terms of the community response as well.”

Honoré cites Rider’s letter of July 26 as having prompted the precipitous drop in her business, claiming that other internal e-mails, which she could not produce, went beyond Rider’s instruction that staff should not do business with Shakespeare Books and Antiques. However, when she by her own admission went to the press for the story that first appeared on August 4, there was no mention of any impact on her business, only her unhappiness over what she characterized as a call to boycott her store.

Reading Rider’s letter carefully, one could argue that the language about ceasing to do business with SBA might have been somewhat differently structured. If one doesn’t read the entirety of this closing phrase – “I have given instruction to our staff not to patronize Shakespeare Books & Antiques for any Festival related goods or services until further notice” – one might only take away “given instruction to our staff not to patronize.” A statement affirming staff members’ own unfettered right to patronize the store would have been useful.

But regardless of how the letter was read, it was internal to OSF, yet Honoré says it resulted in a roughly 85% drop in business. If the staff of OSF was Honoré’s overwhelming customer base, then regardless of whether one agrees with the request to alter the display, Honoré’s choices influenced the purchasing decisions of her customers. In seeing the situation as one of social consciousness and sensitivity, OSF was well within its rights ito decide what vendors it chose to do business with, and that wasn’t a secret within the organization.

Honoré claims that in her one meeting with Rider, she was told, “Take the books out of your window or we’re going to boycott your store.” Rider denies having made such a statement. Asked whether her communication regarding OSF-related purchases wasn’t in fact an implicit message to the OSF community to not patronize the bookstore, Rider said, “That certainly wasn’t my intention.”

Was OSF advocating censorship, which presumably they would fight were such an effort directed at their own creative work? Given that they had no control over Honoré’s store, it’s hard to accept that they were, especially since the conversation only was about the placement of the books, not over whether Honoré should carry them at all. OSF was advocating to Honoré, according to their institutional imperatives and as a part of the Ashland community, sensitivity to members of the OSF company – both full time staff and guest artists – that escalated over a communications impasse. Rider observed, “Freedom of speech doesn’t mean you get to say whatever you want and nobody can tell you they’re upset about it.”

Because so many of the interactions within this dispute were person to person, it is difficult to pin down many absolutes, especially since the different parties offer differing impressions of the same event. In the fraught communications, it’s unfortunate that one possible rapprochement doesn’t appear to have been discussed. Might it have been possible for SBA and OSF to collaborate on further contextualizing the window display, so that it was clear the presence of LBS (and books like the Uncle Remus stories) was not to advance racially negative text or imagery? While Honoré absolutely has the right to display any books as she wishes, and there is no question that the books she displayed have all been officially censored at one time (or many times), a store window is not a museum or school, where history and education about featured items would usually be more fully explained.

While Shakespeare Books & Antiques will close on Monday, Honoré said that she does plan to reopen, after resting up from the stress of the past few months and getting a new business of hers, a furniture store, fully up and running. Saying that she has three times as many books warehoused as she was able to display in the shop that’s closing, she said she’d be back in a larger space. She felt some distance would put an end to the many people who were coming into her store to discuss the dispute with OSF, but not making purchases, noting that business only began to pick up when she announced she was closing.

As for further dialogue in Ashland through a town hall, which at one point was considered for Saturday, October 29, Julie Cortez of OSF said in an e-mail, “We are in discussion with the members of SOEDI (Southern Oregon Equity, Diversity and Inclusion Collaborative) about the best date to hold this community conversation, and we will keep people informed of what plans are made.” It’s too bad that the community still has to wait to process this situation together, openly, but hopefully they’ll get there soon in a way that helps everyone involved, directly or as observers, to fully appreciate and respect what’s being said and shown and read, on stage and off.

In reporting on the dispute between Ars Nova and Howard Kagan, a lead producer of Natasha, Pierre and the Great Comet of 1812, both The New York Times and the New York Post have seemingly reduced the dispute, at times, to three words or two words, respectively. They’re not wrong about this being triggered by “a mere three words” in the language of the Times report. But there’s really something deeper going on that such diminishment does not fully convey.

For those who have not read about this situation previously, here’s a precis. Ars Nova, a small company well known for staging inventive new works, including not only Great Comet, but Jollyship The Whiz-Bang, Small Mouth Sounds and the current Underground Railroad Game, among others, staged the premiere of Great Comet in 2012. With Howard and Janet Kagan leading the producing team, along with Paula Marie Black, the show transferred to a tent, dubbed Kazino, under the High Line in 2013, later moving to an empty lot on 45^th Street near Eighth Avenue. It then was produced at American Repertory Theatre in late 2015 before the current Broadway production began previews at the Imperial Theatre last week, for a mid-November opening.

According to reports, Ars Nova learned two weeks ago that instead of receiving its contractually agreed upon billing on the title page of the Great Comet Playbill, which was to read “the Ars Nova production of,” only their name appeared, as the last in a list of above the title producers, albeit on its own line and immediately before the title of the show. The bulk of the producers were shown in a fairly standard block arrangement, with American Repertory Theatre also afforded its own line after that block, and before Ars Nova. The Kagans appear in first position. The title page also contains language, in much smaller type at the bottom of the page, stating “Originally commissioned, developed, and world premiere produced by Ars Nova,” accompanied by similar language noting ARTS’s contributions.

To date, Howard Kagan and the Great Comet production have issued no statement regarding the billing change, and Ars Nova has only issued a general statement and shared information with the Times. However, the Times report affirms the contractual language that Ars Nova says has been breached, and the company’s managing director, Renee Blinkwolt, says that Kagan began to seek a billing change on October 9, but no such alteration was agreed upon. Press representatives from both Ars Nova and The Great Comet have declined to answer any questions from Arts Integrity.

“The Great Comet” at Kazino in 2013

The implication that this dispute over billing is somehow petty, because it involves only three small words, including “the” and “of,” belies the importance of such a credit to a not-for-profit organization, especially one as small as Ars Nova. While the company may have built a strong reputation in a relatively short period of time, Great Comet is their first show to reach Broadway, and the number of people who will see it nightly will outstrip the number of people who could see any show in their home theatre on 54^th Street in a week. This could result in more people taking an interest in seeing work at their home base, in addition to raising their profile in the funding community. Because the current billing now equates them with ART, and denies them a possessory credit, their primary role in fostering and premiering the work is diminished, with any lost impact unknown.

One can only guess at Kagan’s rationale for the unilateral change in the credit. But perhaps given the show’s growth and transformation from Ars Nova to Kazino to ART to Broadway, Kagan feels that the show has developed far beyond what was first seen at Ars Nova, and that with his leadership and financing, it is a transformed production. But ultimately, that doesn’t matter. There is – so far as we know – a contract in force, Kagan was unable to renegotiate it, and neither he nor the current production have the legal right to ignore its terms, regardless of how large or small the alteration.

The Times report included mention of potential legal action by Ars Nova, noting that the theatre’s attorney, “accus[ed] Mr. Kagan personally of breaching his fiduciary duty as an Ars Nova board member by threatening to initiate “a smear campaign in the press in order to irreparably harm Ars Nova’s reputation” as well as by harming its gala.” In a seemingly retaliatory step, the production scheduled its recording session opposite the Ars Nova gala, where the Kagans were to be honored and the Great Comet cast was to perform.

The matter of fiduciary responsibility is not small. While most often thought of as a financial responsibility, the term is really more expansive. According to law.com, a fiduciary is “a person (or a business like a bank or stock brokerage) who has the power and obligation to act for another (often called the beneficiary) under circumstances which require total trust, good faith and honesty.” Board members of corporations, not-for-profit or otherwise, have a fiduciary responsibility to that organization, and it is understood (and often spelled out in writing) that they will operate in that entity’s best interests.

In not-for-profit management, it has become increasingly common for conflict of interest policy to be included in board guidelines, and even for board members to annually sign a disclosure form delineating any possible conflicts of interest. Whether Ars Nova has such a policy or not, the conflict as it is publicly known suggests that by putting any aspect of the commercial production ahead of the interests of Ars Nova, a breach may indeed have occurred.

Howard Kagan is hardly the first board member of a not-for-profit to play a role in taking a production from a company in which they are involved into the commercial arena. Whether as producers or investors, it’s often a matter of pride for board members to participate in the future life of a project. But such relationships require greater scrutiny by the board of directors or trustees (regardless of the term used) to insure such conflicts of interest don’t arise. Even if there is an annual questionnaire, even if it is properly vetted by a board committee empowered to do so, circumstances can arise which change the equation. It is incumbent on board members to disclose even the potential of such situations as they emerge, as well as for boards to seek out such information.

Brittain Ashford and Denée Benton in “The Great Comet” at American Repertory Theatre in 2015 (Photo by Gretjen Helene)

It’s worth noting that this is not unique to board members. In the case of Great Comet, the company’s artistic director, Jason Eagan, is fifth billed on the production, alongside Jenny Steingart, president and co-founder of Ars Nova; Eagan himself is also listed as a board member of the organization. This presents yet another somewhat incestuous relationship between Ars Nova and the Broadway Great Comet, even if it is clear from his public stance that Eagan is clearly acting first and foremost in the interest of defending the company position, rather than the wants or needs of the Broadway run. The Times noted that board members with financial interest in Great Comet were recused from discussion of these issues.

There is also a fiduciary responsibility for the lead producers of Broadway productions, since they have managerial control of the limited liability corporation established to produce any given show. Depending upon the outcome of the current dispute and the legal expenses which accrue to the production, other producers and investors might wonder at the wisdom of the approach that has been taken, since it adds expense that might otherwise have been used to benefit the production, or be returned to those who have a financial interest in the show.

While in Michael Paulson’s Times report, he notes, “The dispute does not affect the financial agreement between the commercial producers and the nonprofit,” that’s somewhat premature. Even with participation in the gross weekly box office receipts, the Times story came out one day after the first preview was performed. No financial distributions would have been made until at least yesterday, and for a show in its first week, even that would be extremely fast. It remains to be seen whether the conflict extends to other contractual terms as well.

This is an evolving situation and hopefully the original contract between Ars Nova and Kagan will be honored, unless the parties come to mutually agreeable new terms. But even if this is all resolved today, it will remain an object lesson for not-for-profit boards and companies about the pitfalls that arise when shows move into commercial production, with key players at the original company taking leadership and financial roles. While it no doubt starts with the best of intentions on everyone’s part, conflicts can arise. Only with disclosure and scrutiny can all parties ultimately come out winners.

Update, October28, 2016: The New York Times reported early this evening that Ars Nova has filed complaints with the American Arbitration Association and the New York State Court over the denial of its contractual billing and Howard Kagan’s breach of fiduciary duty as a member of the board of directors of Ars Nova. It included quotes from a statement by the producer of Great Comet on Broadway:

Ms. Blinkwolt [managing director at Ars Nova] said the two sides had attempted to reach a compromise that would settle the dispute, but those talks broke down.

In a statement, the producers of the show expressed their respect and gratitude for the nonprofit and said they were surprised to hear that the nonprofit had filed suit because they thought the talks were continuing and had made great progress.

The producers said “our understanding is that we are still in discussions. We continue to work toward a swift resolution of this matter for the sake of everyone involved in the show, and we hope that those discussions can continue privately.”

A Facebook post signed by “Jason, Renee and the Gang at Ars Nova,” also posted this evening, read in part:

It has truly taken a village to get The Great Comet to land on Broadway. If you were to remove the contributions of any one partner along the way, we couldn’t be in previews on Broadway today. And yet with no explanation, the proper recognition of our contribution has been taken away. We believe that the show currently on Broadway started at Ars Nova. That it grew and grew and grew until it was a big, beautiful Broadway musical. That narrative – that the show people are seeing on Broadway is, at its core, the show that started at Ars Nova, is extremely valuable to Ars Nova’s past, present and future, and is communicated to the tens of thousands of people seeing The Great Comet on Broadway each week only through our title page billing.

With seemingly no other alternatives to seeking remedy for this lost value, our Board voted unanimously last night to file suit for breach of contract to compel the commercial producers of The Great Comet to honor their contractual obligation to bill the show as “The Ars Nova Production Of.” We are devastated that it has come to this, but steadfast in our belief that the billing we are owed is both valuable and deserved.

This post will be updated as circumstances warrant.

There’s a very large tree that has been traveling around the Dallas-Fort Worth region in Texas. There’s no need to worry, as the tree hasn’t acquired independent mobility and become sentient, but rather, it has made major appearances in two theatrical productions in the area in a short span of time. Designed originally by Bob Lavallee for the Trinity Shakespeare Festival production of A Midsummer Night’s Dream at Texas Christian University, it just finished a run center stage in Camelot at Lyric Stage.

As Mark Lowry reported on his TheaterJones site, the tree would have been headed for the dumpster after the end of the run of Dream, had not Steven Jones, producer at the Lyric, asked if he could use it as part of the set for Camelot. Lavallee consented, provided he received credit. However, he declined to adapt his whole set for the Lyric production.

But as Lowry noted, other scenic pieces from Dream found their way into the production of Camelot as well, albeit with some new scenic painting and set dressing, with the overall set credited to Cornelius Parker. This suggests two problems. The first is whether Lyric had the right to use, or whether Trinity Shakespeare had any right to provide, anything but the tree in connection with Camelot. The second is the fact that Cornelius Parker doesn’t exist – the name is a pseudonym for Steven Jones.

“Camelot” at Lyric Stage (photo by Michael C. Foster

There’s no mention made of a contract, only an agreement and a payment for use of the tree; Lavallee is not a member of United Scenic Artists, so he doesn’t have union backing to help work out the situation. But it seems that the appearance of additional scenic elements from Dream in Camelot goes beyond the agreement, regardless of how they were used or disguised in their second appearance. Unless Jones indulged himself in some unauthorized dumpster diving in arranging for the tree and the other elements to be transported to Lyric Stage, it appears that Lavallee has an issue with both Lyric Stage and Trinity Shakes, since the latter, in supervising the load out of the tree, presumably had some staff overseeing what went on the truck, and more was allowed to go than what was agreed to.

Jones’s use of a pseudonym to disguise his own role as the coordinator of scenic elements for the production – using the word designer may be ill-advised here depending upon how much of Lavallee’s work actually appeared – seems a deliberate attempt to disguise the provenance of the work, when only the tree itself was credited to Lavallee, by agreement. While Lowry reports that Jones has used the pseudonym once before, for a set he devised using pieces in the theatre’s stock (notably Funny Girl and The King and I), the obfuscation is troubling. While Jones chalks it up as, “I didn’t want to take credit for it,” it’s impossible not to wonder whether the genesis was less modesty than an understanding that he didn’t really design either show, but was deploying the designs of others. In any event, it’s misleading the audience and the press, who operate under the assumption that what appears in their programs is truthful.

As a corollary here, some might invoke authors who have written under pseudonyms (Stephen King writing as Richard Bachman, for example, or Joyce Carol Oates as Rosamond Smith). It’s important to recognize that those authors opted to put false names on their own work. In King’s case, the subterfuge didn’t last long, and was in part because his publishers were concerned about flooding the market with new works from the prolific novelist; for Oates, it was an effort to distinguish between the different modes, and even genres, in which she writes. When the Coen Brothers edit their films under the false name of Roderick Jaynes, again, it’s their choice for their own work, and their names already appear repeatedly in the credits of their film.

Going beyond the case of the Trinity Shakespeare/Lyric Stage tree and other scenic elements, this case points up a continuing challenge for designers regarding credit when their work is incorporated, especially when the use is partial but significant, into other productions. If a scenic designer creates distinctive scenic elements that are newly built for a given production, is that designer due credit and/or compensation when they are used – whether at the same theatre for a different show, or by another theatre and show entirely? If a costume designer creates, say, their own unique take on the Ascot scene in My Fair Lady, and then those costumes appear in the Prince’s ball scene in a production of Cinderella, what is the original designer due? How does copyright come into play?

Many theatres maintain costume and scenic stocks, so they are not constantly building new pieces Some theatres may operate rental houses or sell their costumes to independent costume rental houses. So when does the design recognition end? It’s a sticky wicket with no easy answers, but it’s particularly complicated when a design is credited to one person – real or fictitious – and it contains a noteworthy portion of designs that are actually the work of someone else.

This isn’t meant to say that the use of stock items should be abolished, because that’s truly wasteful and for some companies would make productions economically unfeasible. There are legitimate cases to be made for shows being drawn from stock, or collaging pieces from other productions in order to create what is essentially a new overall design. It’s just to say that perhaps there’s more credit (and perhaps royalty) due than is currently given, especially at the professional level.

As for Cornelius Parker, fictitious designer, hopefully his ignominious career is at an end. However Lyric Stage designs, devises or assembles its productions in the future, they should own up to the truth of it, and not pretend to more creativity than they may be putting on their stage.

As theatre buffs know, there are two major musicals drawn from Joseph Moncure March’s The Wild Party, which debuted in New York within months of one another: the Michael John LaChiusa-George C. Wolfe version which played on Broadway in the spring of 2000, and Andrew Lippa’s version, which played Off-Broadway at Manhattan Theatre Club from February to April of that year. Drawn from the same source material, they inevitably have many roles in common.

Julia Murney as Queen and Taye Diggs as Black in Andrew Lippa’s The Wild Party at Manhattan Theatre Club

One of the many roles shared by both shows is “Black,” first played by Taye Diggs in Lippa’s retelling of the story (and by Yancey Arias in the LaChiusa-Wolfe version). So there was significant pushback earlier this month when the Yale Dramatic Association, widely known as the Dramat, announced the cast for their fall production of the Lippa’s Wild Party, where the character is specifically identified as black. A white woman had been cast as Black.

The Dramat should not be confused with the Yale Repertory Theatre. The Rep is a professional company that also includes the work of Yale School of Drama graduate students onstage and off. The Dramat is an undergraduate club which actually predates the Rep by more than 50 years. While there is a great deal of undergraduate theatre at Yale, with many of the residential colleges each fostering their own dramatic groups, the Dramat, so far as student-run theatre at Yale goes, is perceived as the major player school-wide.

As reported by Joey Ye writing in the Yale Daily News, approximately 75 students auditioned for the Dramat’s Wild Party, with only nine students of color trying out. Two students of color were cast. While the Dramat’s club leaders indicated that they had done outreach to the performing communities of color at Yale, their efforts had limited success. Ye quoted the student producer saying that the Dramat had decided to proceed with the show, with a white female student as Black, after the director “re-visioned the entire show with the people we had in the room.”

Ye noted that the Dramat has only produced two works by artists of color in its history, one earlier this year and one in 1995. While that doesn’t speak to roles specifically requiring performers of color, or productions which may have cast students of color in roles traditionally played by white performers, it suggests, as students did in Ye’s initial report, that the Dramat has not historically been perceived as a group that embraced students of color.

On Tuesday, Ye reported again for the Yale Daily News about The Wild Party, writing that the Dramat had made the decision to reopen auditions and to recast the role of Black. Two other roles will also be recast, because two students chose to leave the production as a result of the uproar.

In a statement on the Dramat’s website, the student leaders of the group wrote, in part:

We also know that the circumstances surrounding casting represent a much larger problem, extending beyond this particular production and the Dramat as an organization. There are serious, systemic challenges to meaningful progress toward diversity and inclusion. Over the past week, members of the community have raised questions about effective forms of outreach, the audition room environment, the balance between pre-professional and educational programs, and the dispensing of information about auditions and opportunities for those outside of the theater community. These are difficult questions, and each merits its own in-depth discussion, which we are committed to pursuing in collaboration with the larger Yale community, as we all strive for a better, more inclusive space.

The standard contracts provided to student productions, as well as amateur and professional companies, typically contains language about making no changes to the gender or race of characters without prior permission from the licensing house on behalf of the authors. Drew Cohen, president of Music Theatre International, which represents The Wild Party, responded to an inquiry from Arts Integrity as to whether the company had played a role in the Dramat’s decision. While citing MTI’s policy of confidentiality regarding its customer communications, Cohen noted, “I do not know what prompted the group to hold new auditions.”

Contacted separately, author Andrew Lippa responded:

“I have had no hand in the casting at Yale (other than being the playwright!). I applaud these student producers’ efforts to recast their production per the character description in the script. I have always, and will always, support and defend the rights of living dramatic writers (and all plays still protected by copyright) in all casting decisions.

“I look forward to seeing (and celebrating) these students and their production of my show.”

The Yale Dramat has announced that their spring ’17 show will be Jackie Sibblies Drury’s We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, From the German Südwestafrika, Between the Years 1884-1915.  The original cast at Soho Rep in 2012 included three black actors and three white actors, in Sibblies’s backstage exploration of racial roles in the creation of a play drawn from African history.

Update, September 22, 11:45 am: This post has been edited to more clearly reflect Lippa’s intent that the role of Black in his version is to be played by a black actor, as it has been in its original production and in the Encores Off-Center concert.

This post will be updated should there be significant further developments.

Howard Sherman is director of the Arts Integrity Initiative and interim director of the Alliance for Inclusion in the Arts.

To start at the end, or at least where we are today: Michele Roberge, executive director of the Carpenter Performing Arts Center on the campus of California State University, has resigned, effective yesterday. Why? Because the school’s president, Jane Close Conoley, insisted upon the cancelation of Roberge’s booking of the comedy N*gger Wetb*ck Ch*nk, a show that has toured extensively for more than a decade to performing arts centers on and off college campuses. In fact, it played to a sold out house of more than 1,000 seats last year at the Carpenter Center. When Conoley raised a red flag earlier this year, Roberge made it known that if Conoley forced the cancelation, she would resign on principle. And so when the axe fell, she did.

Like any show that has been touring for more than a decade, N*gger Wetb*ck Ch*nk, which was written by Steven T. Seagle and Liesel Reinhart with the men who originally performed it, Rafael Agustin, Allan Axibal, and Miles Gregley (who are respectively black, Latinx and Asian) has a raft of reviews and feature stories available on their website attesting to the work’s broad appreciation. Despite its seemingly inflammatory title, Charles McNulty, reviewing it in 2007 for The Los Angeles Times, called it “wholesome entertainment,”  going on to write, “Yes, racial slurs and profanity can sometimes be good for you – especially when they’re deployed to make a point about the pervasiveness of prejudice and its denigrating unabridged dictionary.” Other coverage has included a feature in The New York Times and an extended interview with National Public Radio’s Michele Norris.

When N*W*C was planned for last year at the Carpenter Center, Conoley, responding to concerns expressed by Naomi Rainey, president of the local branch of the NAACP, defending the piece, writing:

It is my hope that this performance will elicit conversation about issues of race, prejudice and inequality that the NAACP works so hard to confront. As president, it is my goal to push the envelope on matters of race and prejudice to ensure The Beach remains a safe haven for freedom of expression on this vitally important topic.

So why can’t the production be seen again? In lieu of an interview request or the opportunity to respond to questions via e-mail, Conoley writes:

Last year I welcomed the same performance to the Carpenter Center. My thoughts then were that it would generate thought-provoking conversations about race relations. The university and ASI subsidized students so that many were able to attend for free.  I personally visited with many of our student cultural organizations to prepare them to use the performance as a prompt for meaningful discussions. Faculty members and student services staff members supported special activities before and after the performance.

Following the performance I evaluated whether or not it achieved that goal. Involved faculty and staff members and students shared feedback that the performance did not lead to the desired conversations.  They further expressed a desire to find another performance vehicle to generate deep and much needed discussions about race and ethnicity.

When approached again to support NWC as a centerpiece of campus conversations, I indicated that while the performance could certainly go on as planned, I would not replicate the campus support I’d made available last year and did not have faculty or staff interested in doing curriculum planning around the performance.

I did not intend my decision as a form of censorship. As an academic, my decision was based on my evaluation of the academic value of the performance for our students.  The Carpenter Center could have hosted the show without additional involvement from the University, but chose not to.

Conoley’s characterization of the Carpenter Center directly conflicts with Roberge’s telling. In a letter sent to donors and patrons of the Center, she wrote, “President Conoley required us to cancel our upcoming performance of N*gger Wetb*ck Ch*nk. I could not accept this egregious form of censorship.” According to Roberge, the instruction to cancel the show was delivered to her by the dean of the College of the Arts, Roberge’s direct supervisor, at Conoley’s direction.

In her resignation letter, dated late August, Roberge wrote to the dean of the College of the Arts, Cyrus Parker-Jeannette, saying:

The decision by President Conoley to cancel our upcoming performance of N*gger Wetb*ck Ch*nk runs counter to my steadfast belief in the protection of freedom for artists and my personal integrity as a performing arts presenter. This is an egregious act of censorship, especially ironic as it targets the home of The B-Word Project.

The B-Word Project: Banned ,Blacklisted and Boycotted, was a specially funded initiative held at the Carpenter Center in 2011-2012 focusing on censored works. It featured seminars and performances on the topic, and included the so-called “NEA Four” – Karen Finley, John Fleck, Holly Hughes, and Tim Miller – whose 1990 grant applications for support from the National Endowment for the Arts were personally vetoed by NEA chairman John Frohnmeyer, contravening the NEA’s practice of peer review. It also included work from Bill T. Jones’s dance company. Roberge describes all of the work as “very sexual.”

Conoley was not president, or part of the CSULB community, during The B-Word Project. 

*   *   *

Regarding last year’s concerns about N*W*C from the NAACP, Roberge noted in an interview on Thursday that, “Nobody picketed. Nobody protested. In fact there was nary a peep from the NAACP when we announced this year’s show.”

Speaking about her original decision to present N*W*C said she conferred with the dean of the College of the Arts. “We wanted to spark conversations about race,” she says, “and it did that, beautifully.”

In the wake of the first presentation, Roberge says that there were some who didn’t believe the n-word should be heard on campus and didn’t feel it was the Carpenter Center’s place to open up a conversation about race. She notes “other racially charged incidents on campus which absolutely had nothing to do with the show,” and her belief that this heightened concerns regarding racial issues on campus. Referring to President Conoley, Roberge say, “I think those incidents frightened her.”

Roberge notes, “In conversation with the artists, we offered to postpone the show until after the election, and offer a lot of contextualizing educational activities – panel discussions with the ethnic chairs, films, lectures – so that interested students could attend those and have more of a context for how this show came about. But the president was not interested in that and said, ‘No, I don’t want the show.’”

Roberge says that over the summer, the dean of the College of the Arts was instructed by the president to speak with nine people, both on and off campus about N*W*C. “I was instructed not to speak with anyone about it,” she says. “The dean spoke with me about it and told me that all nine advised the president not to do the show. Nobody advocated for the show and they would not allow me to tell my side of the story and only one of them is nominally involved in the arts.”

Has Roberge ever been required to submit her programming for approval to anyone in the university administration? “The answer is no,” she says. “I was hired to curate the presented season at the Carpenter Center and oversee all of the rental activity as well. That being said, while I don’t have to get approval from anybody, every year when I have the season ready to go to our marketing director I schedule a meeting with the dean of the College of the Arts, who’s my boss, and I tell her about every show that I want to bring, so that she’s not surprised by anything. When we did N*gger Wetb*ck Ch*nk for the first time last year, I was very clear early in the process that this is what I wanted to do and she was 100% behind it.”

Asked whether there’s any policies regarding freedom of expression on campus, Roberge professed to know of none, adding, “There are no campus policies that limit freedom of expression.” She also references the presence of The Center for First Amendment Studies on the CSULB campus.

In a statement provided to the OC Weekly, Rafael Augustin of N*W*C, after expressing appreciation for Roberge’s efforts, wrote in part:

Please let it be known that we believe in the need for change as advocated by the Black Lives Matter movement and stand in solidarity with their commitment to achieving freedom and justice for all black lives.

We cannot ignore, however, that this occurrence also stands as critical juncture in the path of free speech on the campus of a public educational institution in perhaps our most liberal state. The same act of censorship that today may seem to protect a community may be used next time as justification to silence a community in desperate need of a voice.

*    *    *

Returning to President Conoley’s statement that she did not intend her decision as a form of censorship, but rather as a result of the academic value of the performance for students, it’s important to note that Roberge was not faculty, but staff. Her role was not primarily to program for academic purposes, but to find work that would appeal to the campus community and the Long Beach community at large. If academic import is the criteria, one wonders what the pedagogical rationale is for such presentations as Four by Four: A Tribute to The Beach Boys, The Four Seasons and The Bee Gees or illusionist Jason Bishop, both on the Carpenter Center schedule this year. Or what about This is Americana! Live Comedy Slide Show Performance Celebrating Classic and Kitschy American Life & Style! Rather, it seems that the academic reasoning is being deployed specifically to silence N*W*C.

It seems clear that N*W*C did provoke conversations about race, but those that affected its now-canceled return engagement were held behind closed doors, and while students were off-campus. Will the nine people consulted about N*W*C hold sway over other bookings at the Carpenter Center in the future? Will Conoley now decide to personally sign off on programming? Will a search for Roberge’s successor be hindered by what has taken place over this show, or will the choice be made in such a way to drive all programming to the middle of the road, rather than engaging in the kind of envelope-pushing Conoley professed to support in her letter to the NAACP last July?

Having refused interviews from every media outlet that has requested them, up to and including the Los Angeles Times, Conoley is walling herself off behind statements rather than engaging and explaining her rationale. We don’t even know whether she saw the show. She made a decision and while citing conversations but not sharing them in any detail, imposed it with little transparency, and sees little need to defend it further. As the final authority on that campus, she directed conversations about the work of the Carpenter Center to take place without the participation of the center’s director, and so far as anyone knows, she did not consult with cultural experts directly familiar with the production from off-campus or the many other universities where the show has played. Yes, campus conversations about race have evolved since the show was first produced, but was that the root of the problem?

As it stands, Conoley has lost a 14-year veteran of the university who stood up for her principles, while silencing perhaps the most provocative performance of the season, which happens to be a theatrical work by artists of color around issues of color. She has done so without a full explanation of her concerns and reasoning. She may not want to be seen as a censor, but it’s hard not to arrive at that conclusion.

In recent years, it’s been suggested that some companies and organizations have intentionally caused upset through a statement or product, only to quickly recant, for the express purpose of getting two press “hits” out of one incident, in the process demonstrating their responsiveness to their customers or the population at large. As a one-time publicist, admittedly in the lower-stakes world of not-for-profit theatre, I’ve never been entirely convinced that this is a valid or even calculated strategy, or that it benefits the “offender” in any way. Of course, in the current presidential election we’ve watched one candidate make incendiary and offensive statements and receive great press attention and outrage for doing so. The result there is that it appeals to a certain portion of the voting population and, while the candidate may “walk back” or “recalibrate” his statements, actual apologies are exceptionally rare.

Watching this sort of “offend-apologize” dynamic when it comes to the arts can be instructive, whether it’s the Old Navy t-shirts that crossed out “artist” in favor of “astronaut” or “president,” or the AT&T campaign that urged people to watch football at the theatre. In the former case, the product was dropped; in the latter, AT&T expressed their love for the “thespian community,” saying they meant “no disrespect,” but the ads actually continued after that.

The just-finished Labor Day weekend saw two examples of affronts to the arts community. The better known example was the Wells Fargo “Teen Day” campaign, which used “ballerina” and “actor” as the abandoned pursuits of teens, in favor of current interests as “botanist” and “engineer.” While the Wells Fargo campaign did allow for something else to come along in the future, the fact that it didn’t offer anything but the arts as being in the past yielded an avalanche of outcry, and as awareness peaked on Saturday, Wells Fargo offered an apology late in the afternoon (east coast time).

Somewhat less noticed was the dismay over a casting notice from San Francisco mainstay Beach Blanket Babylon, shared online by monologist Mike Daisey, which stated that while “historically we have used performers whose facial features make them appear conventionally Caucasian,” “all ethnicities are welcome to audition.” They generously noted that “If you don’t [fit their description], your voice and stage presence could change our minds.” This is tantamount to saying, “white people preferred, but hey, people of color, if you go above and beyond, you may get a shot.”

To those who say that artists have the right to cast whom they choose, I will absolutely agree, but doing so in a way that is patently discriminatory is not OK. It’s all the more puzzling since the notice, so far as it was disseminated by Daisey, doesn’t actually describe any characters (performers double, triple, quadruple and more in BBB) – and the show has clearly hired artists of color in the past. But BBB pulled the casting notice within a day and issued their own apology.

The Wells Fargo and BBB apologies are worth looking at closely, because there’s a distinction between them. The bank’s mea culpa read, “Wells Fargo is deeply committed to the arts, and we offer our sincere apology for the initial ads promoting our September 17 Teen Financial Education Day. They were intended to celebrate all the aspirations of young people and fell short of that goal. We are making changes to the campaign’s creative that better reflect our company’s core value of embracing diversity and inclusion, and our support of the arts. Last year, Wells Fargo’s support of the arts, culture and education totaled $93 million.” Note the phrases “sincere apology” and “making changes to better reflect our company’s core value.”

Whether you think the ads should have ever gotten through in the first place, the statement is reasonably definitive. There’s no waffling. I know I won’t be alone in watching for new materials, although there are currently flyers with the old language in Wells Fargo outlets around Manhattan and presumably the country. Will they all be recycled today and new ones rushed to offices around the country? After all, Teen Day is less than two weeks away.

What you find on the Bleach Blanket Babylon site instead of their casting notice

The apology from BBB is rather less absolute. “We apologize to anyone who may have been offended,” it reads, “by the audition notice that was posted on our website. Beach Blanket Babylon was founded on the principle of poking fun but never offending anyone and we hold these principles true today. We have removed the audition notice from our site and promise to be more sensitive in the future.” This statement deploys the worst kind of “non-apology apology,” in that it is only sorry that some people were offended. It doesn’t actually take ownership for what it did, and places responsibility on those who were upset. Are they sorry for what they wrote, for the sentiments expressed, or only sorry that it bothered some people?

Even though BBB says they’ll try to be “more sensitive,” all they’re really saying is that they won’t be so boneheaded in the future. That this took place in a city that has been at the forefront of diversity is particularly startling. Just because BBB pulled the notice quickly over a holiday, and because it wasn’t quite the national cause celebre that Wells Fargo’s gaffe became, doesn’t mean they should be allowed to skate on this.

The “we’re sorry if you’re offended” construction is oft-floated, and I’ve had it thrown at me directly in my role at the Alliance for Inclusion in the Arts. When a prominent critic wrote about Martin McDonagh’s The Cripple of Inishmaan in the recent Broadway revival, they repeatedly used the word “cripple,” which is deeply offensive to people with disabilities, throughout their review, and not simply when referring to the title of the play. When I conveyed the fact that the term was an affront to many, and that even the character in the play objects to it, I was told that since the play used the word, so could the critic. “I’m sorry if any of your group was offended,” was the response, as if I was representing some fringe opinion, ignoring the millions of people with disabilities in the country who might see things my way.

The BBB notice has a corollary in a recent casting notice from City Center’s “Encores!,” for its upcoming “concert version” of The Golden Apple. While the construct of Encores! shows being concerts, as opposed to relatively simple, quickly rehearsed productions, is largely in the past, one might think that it still affords the opportunity to cast with less concern for appearances than the average full production. But when “Encores” posted a casting notice that repeatedly emphasized they were “not looking for heavy character actresses,” they were called out quickly thanks to actor Kirsten Wyatt (saying “Pretty sure #Encore is saying no fat checks. Fat men – feel free to audition”). Again, an apology, with the offending phrases removed, but it was impossible not to be aware of the bias at play.

The Wells Fargo, AT&T and Old Navy disrespect isn’t exactly new, and while some claim it may be inadvertent, it belies an attitude towards the arts that says they’re dispensible, or easily treated as the butt of jokes. It’s fair to acknowledge that ads are intended first and foremost to sell a product, not to be arts advocacy. But let’s remember that Misty Copeland’s Under Armour spot was a sensation precisely because it championed an artist not as some silly nerd, but a paragon of skill. It’s a shame the Madison Avenue folks can’t get the message about valuing the arts more generally. It’s still too much about the cool kids making the arts nerds the butt of their jokes.

As for these casting notices that seem blithely unaware or uninterested in the offense they give, that’s even more shameful. We hear a great deal about the arts being a big tent and embracing talent first and foremost, yet casting notices seem to periodically reveal fundamentally exclusionary sentiments. Perhaps its better to hear about them than not, so they can be called out for what they are, but if the result is simply to cause producers, casting directors and the like to employ better language to mask their intent, the field isn’t exactly advancing, is it? If we expect others to portray our field with respect, admiration and value, we need to do better too.

Update, September 7, 7 am: Late yesterday afternoon (west coast time), Beach Blanket Babylon issued a second apology regarding their casting notice, more detailed and definitive than the first. It appears below.