I wish that I could write a play, but I haven’t the talent. I wish that I could compose a musical score, but I haven’t the gift. I wish that I could dance, but I have neither the freedom in my body nor the discipline to train. I can sing, a bit, but only well enough to entertain myself on long car rides. So because of my deep admiration for the people who can do these things, because of how they uplift me, move me, teach me, I go to the theatre.
On this post-election morning of November 9, I am reminded that the theatre is my America, because it embraces a multiplicity of stories, of possibilities, of harsh realities and of unimaginable dreams. Its stories are the stories I want to have told, its songs are the songs I want to sing while driving on an autumn day. It is the place where I meet and commune with people on stage and in the audience, inclusive of all ages, genders, sexualities, races, ethnicities, or disabilities. I don’t look to the theatre for escape, but for engagement, which includes the potential for epiphany and joy.
Theatre is where I learn about the world, but even more importantly, the people of that world. In just the past two weeks, the theatre has taken me into the lives of factory workers in today’s Pennsylvania, into the world of Vietnamese refugees discovering America in the 1970s, into apartheid-era South Africa in 1950, where I watched a tragedy play out an inexorably as it did when I first witnessed the same story 34 years earlier. Theatre is my travel, my transport, my time machine.
Yes, I awoke today, after little sleep, in despair. Then I embraced someone I love, and while my worries were unabated, I was reminded that whatever is to come, I do not face it alone. Tonight, I will go to the theatre, and while I don’t expect that the audience will hug and kiss one another for comfort or in solidarity, we will be gathering in the collective embrace of theatre. That tonight’s show was created by a friend of 30 years duration will connect me with the work above and beyond what I might feel simply as a member of the audience. I will go to the theatre again tomorrow night, and the night after that – and then again the night after that.
It has been said that a great many works seen on stage over the past 15 years have been post-9/11 plays. That is not merely referring to the calendar, but to the mindset – that directly or obliquely, so much theatre has been grappling with that terrible tragedy. Did yesterday mark the start of a new era in the work created for the theatre and elsewhere in the arts as well? Intentionally or not, I think it did.
More importantly, I think it must. While our country is divided and we have just elected a man who stoked that divisiveness, we don’t know what’s going to come next, or what the next four years have in store. Pundits and politicians will spin their stories, but based upon the just completed campaign, it will become increasingly difficult to know the difference between truth and lies, between fact and conjuncture, between assured prediction and stark reality.
Because I cannot make art, I look to artists to interpret the world for me, in ways that go to the core of who I am, perhaps challenging my assumptions and at other times affirming my beliefs. Because I cannot make art, I have spent my life in support of it, in one way or another, hopefully helping others to create, and still more to understand it and participate in it. At times, that has required me to challenge authority that seeks to diminish the arts, to deny the arts to others, to reduce the arts to merely inoffensive diversion.
As I have watched this political campaign unfold, I have often said that I expected challenges to art, to theatre, to only increase, parallel to the political divisions that have been set into high, ugly relief over the past year and a half. With the election over and the outcome determined, I’m now all but certain that we will see creative expression targeted as we have not seen for a number of years.
No one can tell an artist what to create, or how to create it. But on this morning when so many people I admire and respect, who have brought so much into my life with their gifts, are reacting in shock and profound dismay, I turn to them and say that while colored maps and percentage points may dishearten you, we need you as much as ever, if not even more than before. We believe in you. Speak your truths for those who hunger for them. Mix the divisions of red and blue into a vibrant purple. Tell us about the lives of people we do not know, but should. And we will fight for your right to tell them and our right to see them, hear them, dance them and sing them.
The great work has gone on for many centuries. We can still learn from the ancient Greek theatre artists. Today it begins yet again. We must learn from you. Tell us a story. Lead us to a better America and a better world.
New York, NY, November 3, 2016 – Music students at The Juilliard School gave a well-received sunrise performance – “God Loves Jazz” – this morning on West 65th Street, on the eastern side of the entrance to the storied performing arts academy on the Lincoln Center campus. Their instrumentation included brass, wind and string performers. The Juilliard contingent was joined by students from the nearby La Guardia High School for Performing Arts, who added vocals to certain musical selections, which included “The Star Spangled Banner,” “Amazing Grace,” “When The Saints Go Marching In” and “Take The A Train.”
Almost as if to disrupt the spirited, seemingly spontaneous concert, a trio of outlandish performance artists, purporting to represent a so-called “church,” took up a location opposite the students, on the west side of the entrance, each brandishing multiple placards quoting select bible verses and claiming that God opposes, specifically, LGBTQ and Jewish people. One wore a hoodie displaying the URL of a website which is apparently dedicated to the principle that God hates America. Fortunately, despite the strenuous yet charmless vocal efforts of the “church” group, the Juilliard performance more than overwhelmed any effort to disrupt it.
A number of New York police officers attended the performance to insure that the sidewalk would not be blocked for passers-by. To achieve that objective, the NYPD cordoned off each performance group using the often-seen “bicycle rack” dividers. The three “church” representatives, who seemed to revel in their one-note portrayals, were spaciously accommodated with room to spare in their pen. The Juilliard/La Guardia contingent grew sufficiently large that the police obliged them by twice expanding their area, which was initially equal in dimension to that provided to the “church,” and still other students massed outside of it. At its peak, roughly five dozen people were in the Juilliard performance space.
A highlight of the Juilliard set was a new arrangement of a vintage pop tune. Quite remarkably, sheet music revealed that the piece was titled in tribute to the so-called church, almost as if the simultaneous performance was expected. Its name: “Rick Rolling The Westboro Baptist Church.”
The students may well have been missing class or giving up precious sleep to entertain the public, but their exuberance and skill met with great approval from those who were lucky enough to happen upon the performance. The music even inspired one Juilliard dance student to display her skills by dancing on a bench just across 65th Street from the musicians. As the for the “church,” their reactionary, confrontational act, which they have been performing around the country, could be mistaken as a parody of small minded hate group, if only there were any levity or wit to their repetitive text.
While the streets of New York are open to all for self-expression, The Juilliard students showed that they are more than ready for the appraisal of both New York residents and tourists. The competing act met with no visible or vocal approval. The ragtag performance art “church” troupe might do well to go back to where they came from, where perhaps they might find more like-minded audiences.
Addendum, November 3, 12:30 pm: I did not mean to cast aspersions on Kansas, as I truly had no idea where this “church” is actually from until I received some responses to this post. I was employing the time-worn riposte, “Why don’t you go back to where you came from?” figuratively, not literally.
It is quite possible that, when the English stage was officially opened up to allow women to perform alongside men, most likely in 1660 when Margaret Hughes played Desdemona, some argued against it, on the grounds that young boys had been successfully been playing women for years, and if it ain’t broke, don’t fix it. After all, only 30 years earlier, a French touring troupe met with disdain for daring to employ women, and even once English women were permitted to act, men did not immediately cease playing women’s roles.
Ira Aldridge
When Ira Aldridge became the first black actor to find fame on the stages of Europe, having left America, which offered him no opportunity, there were at first people who took exception to the breaking of the color line, feeling that blackface had been more than sufficient for the portrayal of non-white characters and that a black man speaking the words of Shakespeare was “blasphemous.” One critic wrote that “with lips so shaped that it is utterly impossible for him to pronounce English,” while another objected to his leading lady being “pawed about on the stage by a black man.”
Phyllis Frelich
After Phyllis Frelich won a Tony Award in 1979 for Children of a Lesser God, might some have dismissed her honor as resulting from a sympathy vote because she was a deaf woman playing a deaf woman, or that her achievement was somehow less simply because she used sign language, which was how she communicated every day? After all, one critic, praising Frelich, took note of her “affiliction.”
Invented scenarios? Only in part. And certainly none are implausible, at distances of hundreds of years or just a few decades. They are, after all, representations of the breaking of a status quo, the altering of a dominant narrative, and the much too easy ways of diminishing significant achievements at the time that they happened.
The stage remains a place where certain practices, steeped in tradition, persist. Despite being seen by many as a bastion of liberals and progressives, the arts are dominated by white Eurocentric men, whether it comes to the stories being told or the people placed in the positions of authority who are charged with making work happen. While the not-for-profit arts community has begun in recent years to explore equity, diversity and inclusion initiatives designed to give voice to a broader range of gender, race, ethnicity and disability, the field is still dominated by white structures and white professionals “opening doors” to other stories.
That’s not to be dismissive of those efforts, but only a means of contextualizing them and reflecting how nascent they still are in so many places. Let’s not forget, it was only in 2015 that the Metropolitan Opera dropped using blackface on the actor playing the title role in Otello, an original Broadway musical featured an all-Asian cast, an actor with a mobility disability in life originated a role in a Broadway production using a wheelchair. How was it possible that this hadn’t happened sooner?
The changes on our stages, the efforts to assert of a broad range of identity where it was previously denied, is reflective of society as a whole. While it has been 51 years since the passage of the Civil Rights Act and 26 years since the passage of the Americans With Disabilities Act, there are still legal battles being fought to insure and protect their full and proper implementation. However, in the past decade, with the rise of social media, advocates for change have had the opportunity to make their cases ever more swiftly and directly, without adjudication by the media as to what concerns will be permitted to reach a critical mass of awareness, with people driving the story, not the story driving the people.
As efforts towards fairer and truer representations of racial and ethnic identity in theatre have resulted in particular shows becoming flashpoints – with The Mikado in Seattle and New York, with The Mountaintop at Kent State, with Evita and In The Heights in Chicago, The Prince of Egypt in the Hamptons and so many more – one of the more frequent and derisive responses has been, “It’s called acting.” That is to say, ‘Oh, it’s all make believe,’ all little more than ‘let’s pretend,’ and as such shouldn’t be held to the same scrutiny or standard as say, the make-up of juries or the population of schools. It says that since the discipline is about taking on a persona, the reality of the person doing so shouldn’t be considered, shouldn’t matter. The phrase condescends to anyone who dares think otherwise.
Those who would reduce efforts toward equity in the arts might wish to isolate them as being the result of identity politics or political correctness. The “it’s called acting” claim is, make no mistake about it, an argument for the status quo, for tradition, for the denial of opportunity, for erasing race. It expresses the thinking that gives awards to people who pretend to be disabled on stage and screen, while making it difficult for people with disabilities to attend cultural events, let alone be a participant in creating them. It is the mentality that loves West Side Story, but cries foul when songs sung by characters who speak Spanish are translated into and performed in Spanish.
“It’s called acting” is the response of those who perceive their long-held dominance, their tradition, as threatened, their own position as being at risk. “It’s called acting” sustains systemic exclusion. After all, as the saying goes, “When you’re accustomed to privilege, equality looks like oppression.” Privilege abounds in the arts, on stage, backstage and in the seats.
If we lived in a society, a country, where everyone was indeed equal in opportunity, then the arguments for paying heed to the realities of race, ethnicity, gender and disability might be concerns that could be set aside. But that’s far from the case, and if the arts are to be anything more than a palliative, they must think not just of artifice, but also about the authenticity and context of what they offer to audiences.
For the arts to survive, they must move forward, lest they become antiquated. In a society where the balance of ethnicity and race is shifting, it is incumbent upon the arts to at last fully welcome and support all voices and allow them to portray and tell their stories as well as the stories of others, instead of being forced to assimilate into some arbitrarily evolved template. There should to be an acknowledgment of how the lived experience can contribute to the arts, rather than denying its presence or validity, along the lines of the canard, “I don’t see color.”
There is no absolute in the arts, no definitive good or bad, right or wrong. The act of creation and the response to that act exist simultaneously in the eye of the creator and beholder (the audience). Consequently, the arts give rise to phalanxes of arbiters at almost every level – teachers, directors and artistic directors, and critics – who seek to guide and even control training, practice and opinion, each in their own way. When those arbiters have disproportionate influence, or in fact become gatekeepers, they assume a greater responsibility, one that goes beyond themselves into the field as a whole. How they are empowered, what they believe, becomes essential to sustaining – or diminishing – the arts.
When it comes to respect and recognition, diversity and inclusion, there is a new arts narrative being written right now. Within that process there are progressives making change, late adopters who are coming to understand, and reactionaries who want to hold on to the past. If we believe that art has value, so do the ethics and process of making it. Being unaware, or worse still, dismissive of how the arts are changing and how the arts reflect society, would keep the field trapped at a moment in time, one already mired in the past, as the world advances. That’s the road to irrelevance, which the arts cannot afford.
Howard Sherman is interim director of the Alliance for Inclusion in the Arts.
“I knew y’all would come. It’s the rest of the world I couldn’t have anticipated.”
Lin-Manuel Miranda (all photos by Howard Sherman)
That was what Lin-Manuel Miranda admitted about his extraordinary recent success with the musical Hamilton to some 200 high school drama teachers in a session on July 7, just two days before he was to leave the cast of the show. He was speaking at the Broadway Teachers Workshop, an annual summer program for theatre teachers from around the country, in a wide-ranging discussion that took him from elementary school to the present day. While questions came to Miranda at first from the moderator Patrick Vassel, the associate director of Hamilton, the session was predominantly Miranda responding to questions directly from the teachers.
For the benefit of all of the teachers (and students) who weren’t there, here are some highlights from Miranda’s remarks, slightly condensed and edited for clarity. Among the material not included here are any topics covered in my prior interviews with Miranda, both for Dramatics magazine and this website.
On being a teacher post-college
When I was about to graduate Wesleyan in 2002, I called Dr. Herbert [Miranda’s high school mentor] and said, “I have a BA in theatre arts, can I come substitute teach at Hunter for a living?” He said, “I’ll do you one better we actually have a part time English position.” So I taught seventh grade English my first year out of school.
There’s nothing better than the people who taught you becoming your friends suddenly being on the other side of that divide So that was enormous fun. And I loved it, I loved my students. I had two seventh grade English classes and I still follow them and they’re still in touch.
They offered me a full-time position at the end of the year and I could kind of see the Mr. Holland’s Opus life ahead of me and I said, ‘I’ll kick myself forever if I don’t even try to work on this musical I’d already been working on called In The Heights.’ I’d already met Tommy [Kail, Hamilton’s director], we were workshopping In The Heights in the basement of the Drama Book Shop while I was teaching. I basically quit teaching part time to be a professional sub, which is much more precarious because you don’t know if you’ll make rent month to month. But it’s much less draining, so your time is free to write.
Lin-Manuel Miranda
So I really was a professional sub until In The Heights opened on Broadway. Elementary school Spanish, physics, science – in the physics classes I’d be like “who wants a song”? I didn’t know what I was talking about. But it was enormously life-changing and it’s in the DNA of everything I do now.
A huge impulse from Hamilton is that impulse to teach. Because what you learn when you’re a teacher, in a lot of ways it’s different from being a performer. You go into being a performer because you get that itch that only applause can scratch. What you realize when you’re teaching is tactually the best moments when you’re a teacher is when you’re laying back and the kids are making the connections for themselves and all you do is keep the ball in the air. You watch them make the connections with each other and my best teachers always did that. You’ll know when those neurons are firing and things are happening and you just get to watch it. They’ve got the information and they’re making the connections, they are debating.
So that was enormously useful as well, because I think the best actors know how to listen. They don’t just scratch that itch that applause provides, they listen to their fellow castmates and they hold them up. They realize they’re twice as strong when they are in an ensemble than when they’re center stage and in the spotlight. Those are the lessons I’ve learned from being a teacher and a performer and they’ve been essential, really essential.
On his earliest musicals and the influence of mixtapes
I wrote four musicals in college. Only one of them was In The Heights. I wrote another one called On Borrowed Time, which was my senior thesis, which if I have my way you’ll never hear. I wrote a jukebox musical called Basket Case; I wrote the book and it was all 90s songs. It was about a school shooting and it started with “Jeremy” by Pearl Jam and it ended with the shooting to “Black Hole Sun” by Soundgarden. In it was “Barbie Girl” and Destiny’s Child.
It actually came as a result of listening to mixtapes of music I liked in the car. They were starting to form the spine of a story in my head which is sort of how I write scores. I’m really grateful that I was a teenager in a time when to impress a girl you made her 90 minutes of cassette music and that’s an art form unto itself, is it not? Draw the cover art, you have a rise and a fall, you can put in skits. It’s not like a CD, they have to listen to it in the order in which you have arranged it. That is a musical score. It’s usually the musical score of, ‘Why don’t you like me?’
But it’s also a way of making friends, a way of showing of your tastes, or a way of getting a friend into music that they don’t really know about, My knack for eclecticism in music is born of the mixtape era.
On student audiences at Hamilton
Lin-Manuel Miranda at the Broadway Teachers Workshop
To an insane degree, the best shows are the student shows, because they’re prepped. They know what they’re coming to see. You don’t realize how much life has beaten you up until you see a bunch of kids see a show. The things they react to wouldn’t occur to you to react to.
There’s a moment where an American spy passes another spy a letter and a redcoat comes and just twists her neck and pulls her away. It’s not on the album, it’s a physical moment, it’s just before “Right Hand Man.” Adults watch and they go, ‘oh, this is a transition, it’s a stage transition, this is information we needed to know.’ When kids see that moment they go “OH!” Honest. Life hasn’t beat them up yet, they can actually be surprised and afraid and annoyed. It’s such live ammo to have an audience of students but it’s so much more rewarding because they’re there for all of it.
They’re there for Anthony being gorgeous because he’s gorgeous, so when he says “Let’s strip down to our socks it’s like, “Aaah!” – ten kids just started puberty. Twenty girls just started puberty and ten guys just figured something out. ‘Oh. Oh this. I know this about myself now.’ The inverse is true for Jasmine. Jasmine did one of our video Ham4Hams and the overwhelming comment was from teenage girls saying, “I’m so gay, I’m SO GAY.” That’s because they’re in love with her.
All this is to say the student matinees are just thrilling because the reaction is completely unguarded. When our characters pass away there are honest to god hitching sobs. We get that from adult audiences too, but its harder to get to you. It comes unbidden from these kids.
The enthusiasm during the rap battles, holy crap! Rap battles are the lingua franca of these kids. I mean there’s YouTube channels devoted to rap battles, Wilmer Valderrama telling “Your mama” jokes on MTV, so to see the founders snapping on each other, it’s revelatory to them and they’re getting the food of what they’re fighting about almost in spite of themselves. We really tried, we’re threading the needle of, “This is what the debt plan is really about.” This is what they’re for and this is what they’re against – and also ‘I’m going to put my foot up your butt.’ Oh! It is that thing of being able to fly in both directions, therefore all of it, if one thing doesn’t get them, something else will.
If we start from the point that these founders are human and what we’re trying to uncover is as much humanity [as we can] in two hours and forty-five minutes, what does that mean about the rest of your history textbook? It’s the beginning of a discussion and that’s very exciting. It’s not ‘we spoon feed you a musical and you love history.’ This musical unlocks that history is written by the victors and so what does that mean for history, what does that mean in your mind.
On failing and learning from failure
Lin-Manuel Miranda
There is so much liability for a teacher. There is so much you’re not willing to go out on a limb on, because you don’t know what’s going to come back to you. I felt very lucky that I found teachers that were willing to show up and be present so we could have a student run musical. That’s huge.
I learned how to corral a group of kids when you couldn’t hire them or fire them. If someone missed rehearsal, what could I say? “You’d better come back or…you just really need to come back!” You learned how to get everyone involved in something and do it for the sake of it, as opposed to for a grade or for cool points. It’s about making a great thing and learning to inspire your peers. I think probably half the things I did were probably artistic failures, but they were met with support and I think that’s the sort of important thing.
That’s how we figure out who we are and what we like and what we respond to. One of the great lessons I took away from film and theatre is to watch everything critically. If you’re in a show and you hate the show, don’t turn your brain off. ‘Why isn’t this show working?’ I find myself often imagining my own scenes on the ashes of a failed show that is happening in front of me in real time. ‘What about this isn’t working? Is it the performance, is the set distracting you from the performance, is the set too much for the plot?’
Continue to think critically when you’re watching any piece of art, because even if you say, “I wish I had those two hours of my life back,” you’ll know a little bit more about your taste, about who you are as an artist, about what you respond to. So it’s never really a waste of time. I think that’s a good perspective to have both when it’s creating things that don’t work or seeing things that don’t work.
On policy makers, politicians and the arts
Lin-Manuel Miranda
What I am finding is Hamilton has become a Rorschach test for our nation. Every candidate has been compared to every character in my show. Depending on which way you lean, either Trump or Hillary is Burr, and that’s OK, that’s fine. It’s good for us to have shared things to discuss. That is one of the places where the arts help us, to have water cooler moments in a time when everybody curates their own reality, right?
I think what we’re finding with social media is we have some shared moments but actually they allow us to go into our own windows and take our lessons from that. I’m always grateful for the way the arts can engender empathy. That’s the biggest thing that we can do that a politician, unless they’re really good, can’t do. We can let you into someone’s life and make you feel like you spent a hundred years with Eliza Schuyler Hamilton and been in her world, and that’s going to change you somehow, in a good way or a bad way. That’s what the arts can do.
Music is our secret weapon. It sneaks in past your defenses, it doesn’t matter who you vote for. If you’re not crying at the end of Hamilton or at the end of The Color Purple, you’re not a human. [The arts have] the ability to engender empathy and to see world views beyond our own. When you can’t shut out people as the other, that what the arts can do that nothing else can do.
On writing Hamilton
Lin-Manuel Miranda
I think a part of me is always trying to write the ideal school show. So much of my life, from elementary school, was “What’s going to be the school play.” So there’s a part of me that’s always trying to answer that calling in my work now. That’s my ideal for what a great show is.
The watchword, the phrase I went by is “The personal is political.” It’s not enough to have a song about the debt plan for the capitol, how does it advance our story, how does it advance our characters. If it doesn’t it goes. We get away with all of the information that’s sneaking into your kids’ brains because Burr is like, “Everyone’s in that room, why can’t I be in that room?”
If the personal is political you can get away with anything. That’s the fun of it. It’s making sure you as long as you’re moving the story along, we can feed in as much stuff as we want, they won’t even know they’re learning. They just want to know what happens. We had to be very ruthless about that.
On the big takeaway from Hamilton
What’s the proverb? “May you live in interesting times.” I don’t know that it gets more interesting than right now. I don’t know if that’s a blessing or a curse. To be honest, it vacillates every day. I think that your kids are going to look to you to make sense of all this. We’re all trying to make sense of it. That’s an enormous responsibility, but it’s also an enormous gift.
We get 1,360 kids to see the show a few times a year. They’re not all going to become theatre teachers, they’re not all going to write musicals or songs. But what they do have to reckon with when they see Hamilton is that Hamilton made the most of his time, he made the most of his less than 50 years on this earth.
Charge your kids with that, the notion that life’s a gift, it’s not to be taken for granted, it’s not to be taken lightly You’re born with gifts and you’re born with an honesty that can never really leave you. What are you going to do with your time? What are you going to do with your time on this earth?
I remember being a teenager and thinking, ‘We have so much time, we have time to kill.’ Man, what I would do to get that time back. I think the continuing awareness that being here is a real gift, that whatever is happening in the world, make the most of it and sink your teeth into whatever you’re doing. That’s your biggest charge and the rest flows from there.
* * *
Disclosure: I presented four sessions on censorship in high school theatre at the Broadway Teachers Workshop in 2015, for which I received a $600 honorarium. BTW did not solicit this post, but agreed to my attendance at my request.
While much will be written about the passing of Muhammad Ali, he does leave us with a theatrical footnote. I’m speaking of his single Broadway role, as the lead in the musical Buck White. Oscar Brown Jr. directed (with Jean Pace) in addition to adapting Joseph Dolan Tuotti’s play Big Time Buck White, and writing the lyrics and music. It lasted only five days in 1969, during the period when Ali had been suspended from boxing due to his refusal to join the Army and fight in Vietnam.
It’s interesting to note that while he had taken on the name of Muhammad Ali several years earlier when he joined the Nation of Islam, his Broadway appearance ultimately saw him billed by his earlier name, which he had denounced as his slave name, Cassius Clay, though ‘Muhammad Ali aka’ appeared in smaller type above it. He had also recorded an album, I Am The Greatest, as Clay.
While the review in the New York Times for Buck White carried a sub-headline which declared that “Champion Does Himself Proud in Musical,” the Times critic Clive Barnes, who generally didn’t care for the show, was somewhat more guarded in description of Clay/Ali’s performance in the review itself, writing, “How is Mr. Clay? He emerges as a modest, naturally appealing man; he sings with a pleasant slightly impersonal voice, acts without embarrassment and moves with innate dignity. You are aware that he is not a professional performer only when he is not performing.”
Although it was promised on the title page of the play, there is no evidence that a cast recording of Buck White was ever made. However Ali’s performance was partially preserved thanks to The Ed Sullivan Show, which featured a number on its then dominant Sunday evening broadcast:
https://vimeo.com/76187446
There’s also footage of Ali performing a number from the show, possibly in the theatre or perhaps at another venue. Intriguingly, there are cuts to another character who seems to almost unmistakably be played by the original Man of La Mancha, Richard Kiley, even though Kiley didn’t appear in Buck White. The footage is found in a documentary about Ali, and the voice of a narrator, an interview clip with Ali and even some offstage footage, punctuate the clip.
https://www.youtube.com/watch?v=HgD24xmkP7E
Ali made a very few other forays into acting, but never again on stage. He played himself in the poorly received bio pic The Greatest, as well as appearing as himself on an episode of Diff’rent Strokes. He did play one more dramatic role, co-starring with Kris Kristofferson in the TV movie Freedom Road.
Ultimately, Ali expressed himself best as himself… in the ring, in his often hilarious interplay with sportcaster Howard Cosell, as an entertainer who sometimes spoke in verse, and as a man who spoke and traveled constantly as a messenger of goodwill and philanthropy. His greatest role was that of Muhammad Ali, and he was sublime.
March 11th, 2016 § Comments Off on 30 Years Before “Hamilton,” US Politics Were Rapped on NYC Stage § permalink
The achievements of Lin-Manuel’s Hamilton are significant and expansive, so much so that I need not add to the proliferation of reviews, essays, parodies, think pieces and so on engendered by his landmark work. However, I feel that, in light of my increasingly senior status and the years of theatre history stashed in my head, I must point out that Lin was not the first to merge rap and American politics on the New York stage.
Travel back with me over 30 years, to an Off-Broadway venue in Greenwich Village known as The Village Gate. A cabaret theatre, it was home a number of acclaimed revues in its day including Jacques Brel is Alive and Well and Living in Paris in the 1960s, National Lampoon’s Lemmings (with Chevy Chase and John Belushi) in the 1970s and Tomfoolery in the 1980s. Closed in 1994, today the building that housed The Village Gate is, last I noticed, a CVS pharmacy.*
“Rap Master Ronnie” on vinyl
But for a very short time in 1984, thanks to composer Elizabeth Swados and lyricist Garry Trudeau (yes, of Doonesbury fame) then-President Ronald Reagan could be found on stage rapping away, while he was simultaneously in residence at 1600 Pennsylvania Avenue. The opus that provided this platform? An hour-long revue called Rap Master Ronnie, with actor Reathel Bean in the title role.
An off-shoot of the Broadway Doonesbury musical that Trudeau and Swados had created just the year before, in truth Rap Master Ronnie had only a single rap number, the title tune (which then-Times critic Frank Rich cited as a high point). But while its musical styling wasn’t really beatbox-based overall, the show did interrogate Reagan’s presidency pointedly and musically in the weeks leading up to the 1984 election (which would ultimately see Reagan win a second term).
”I don’t know if there’s anything artistic being done about this election – it is either being ignored or given up on,” Mr. Trudeau observed. ”It didn’t seem right to me to let it go without trying to say something. The piece is enormously challenging because, as everybody knows, Reagan has proven unusually resistant to frontal assault. That’s a very difficult target to take aim at.”
It’s an interesting statement to read in an election year 32 years later, no?
I digress. I also admit to making the Hamilton link in perhaps my BuzzFeed-iest ploy for attention, just to lure you in to learn of largely forgotten bit of theatrical agitprop, that has nevertheless left one wonderful artifact: the music video version of the title track of Rap Master Ronnie. So I apologize for making you wade through everything up until now, and invite you to see a rapping political figure from days gone by – when everyone’s friend and role model Lin-Manuel was but two years old.
More trivia: Rap Master Ronnie’s limited run at The Village Gate was succeeded by another musical about a politican, Mayor, which portrayed then-NYC mayor Ed Koch in a decidedly more lighthearted lampoon. It was created by composer and lyricist Charles Strouse and marked the first significant credit for a young writer named Warren Leight, who would go on to win a Tony for Side Man and has been steering the Law and Order: Special Victims Unit franchise for several years. But again, I digress.
* Update: I am informed by reader Rafael Gallegos that the one-time Village Gate is now the nightclub Le Poisson Rouge. I swear it was a pharmacy for a time, but this shows you the last time I sought either medication or entertainment on Bleecker Street.
Jonathan Larson’s Rent at PACT in Tullahoma TN (photo by Howard Sherman)
I honestly wish I could figure out what makes one blog post a roaring success, and another a blip on the radar. Certainly the topic under discussion has some impact, but readership seems just as likely to be affected by the title, a photo, the Facebook algorithm, the timing of a tweet, what else is happening in the world, and so on. In short, I have no idea.
In looking over my most-read posts of 2015, I do know which ones took a great deal of research and time, and which were dashed off in under an hour. I know which ones were written after a great deal of consideration, and which were wholly reactive to something I read or heard. They don’t necessarily correlate to readership at all.
I am surprised by the way in which my most-read posts were grouped in the latter half of the year, with seven coming since October 29. Is there any correlation with the fact that I began regularly working out of The New School Drama offices starting in early October, in my new role as director of the Arts Integrity Initiative? I think it’s just coincidence, but it’s possible that the new environment meshed with some significant incidents to yield my most successful writing.
While it may seem paradoxical to offer up my most-read work once again, I have no doubt that there are plenty of people who didn’t read one or more of these when they were first posted, and perhaps there are a few people who would like to catch up with them now. You’ll note I’m not providing them in order of popularity, because it’s not a contest, but I can say that even within these ten, there’s a differential of some 10,000 views.
I had spoken with the leadership of the PACT community theatre in Tullahoma, Tennessee when they first began experiencing resistance to their production of Rent, but they decided that they’d prefer to try to address the opposition on a local basis. But ten days before performances were to begin, they learned of a letter in opposition to the show that was being circulated to the local clergy, and felt it was time for me to take up their cause and make it a national issue. I traveled to Tullahoma for the opening night, where I was welcomed by numerous members of the community, including the mayor, but the opposition had failed and the show played to an enthusiastic crowd. A prayer circle outside the theatre, in quiet protest of the production, drew only four people, including the two pastors who had been most opposed to the show.
Words Players Theatre found itself in the midst of a firestorm when several bog posts, mine among them, questioned their practice of soliciting plays for production with their teen actors, but saying that the director had the final word over the show, contrary to the tenets of The Dramatists Guild. I stand by what I wrote at the time, but I was troubled by the degree of vehemence that some directed at the company, which didn’t necessarily seems the best way to educate students, their parents and the company’s leadership about respect for scripts in production. I ultimately wrote a second post, trying to walk back some of the rhetoric that surrounded this situation, not just mine, by the way.
I was far from the only person to speak out against the archaic, stereotypical use of yellowface in a production of the New York Gilbert and Sullivan Players production of The Mikado, but I was among the first, with my blog post going online alongside two others on Tuesday, September 15. The groundswell of reaction grew very quickly in subsequent days, and advocates against the practice of yellowface awoke three days later to find, with great surprise, that the production had been canceled. NYGASP says they will return with a reconceived Mikado that’s appropriate to 21st century America. Perhaps I’ll be writing about that in 2016.
It took three weeks after the production closed for word of Katori Hall’s Olivier Award-winning play being produced with a white actor as Martin Luther King to find its way to general awareness, but once it did, it brought great scrutiny to this production, at a community theatre based out of Kent State University’s Department of Pan-African Studies. What was even more remarkable, and remains still less known, is that the concept of having white and black actors each do four performances as Dr. King never happened – the white actor played the role for the entire run.
I wasn’t exactly mystified as to why an interview with Pam MacKinnon carried a headline that mention her collaborators Al Pacino and David Mamet, both more famous, but it didn’t seem right that the person the paper actually spoke with was subordinated in this way. Intriguingly, not long after I posted my piece, the headline was altered, removing Mamet and Pacino – but it still didn’t mention MacKinnon by name. I was intrigued to discover that in coming up with a headline, I had birthed a Twitter hashtag: #SheHasAName.
Critic offers his extra complimentary press ticket for sale, via the personals section. This one pretty much wrote itself. But I have to say that I quickly came to regret the tone of this piece, because I let myself succumb to snark precisely because it was so easy in this case. I should have stuck to the facts and let the story speak for itself. My feelings about what this critic did (or tried to do) haven’t changed, but I should have done better.
Coming on the heels of the Mountaintop situation at Kent State, this dispute over racial representation in a college production of Jesus In India at Clarion University led to playwright Lloyd Suh pulling the rights to the show. There was a backlash against Suh from those who didn’t understand, or didn’t wish to understand, what it means to have white actors, even students, playing characters of color. Statements from university figures to the press only fed the uproar. But it has led to multiple offline conversations between Suh and the professor who was directing the show, and between the professor and me as well. Suh and I will be visiting the KCACTF Region 2 festival in a few weeks where we’ll meet for the first time and discuss the issue with the college students and their professors in attendance.
After the heated dialogues that both The Mountaintop and Jesus in India engendered, on social media, in comments sections and in direct correspondence, I was moved to wonder aloud about how the playwright-director dynamic was being addressed in college training programs, both undergraduate and graduate. It prompted yet more comments and e-mails, and frankly helped me to learn a great deal more and provide the basis for further exploration. The post became the basis for a panel added to the KCACTF Region 3 festival, and I’ll be headed to Milwaukee to participate in the conversation right after the first of the year.
With Hamilton being cited as a reason why white actors should be permitted to play characters of color, I took the opportunity of a previously scheduled and wholly unrelated interview to ask the show’s writer-composer-star Lin-Manuel Miranda for his take on race on stage, both in his own work and the work of others. He was, as always, thoughtful and eloquent, during his dinner break on a two-show day.
When a community/semi-professional theatre in Connecticut staged a production that looked startlingly like a professional production that had been stage nearby three years earlier, it was an opportunity to address the issue of appropriation from other productions and what constitutes originality in directing and design. While the company in question suspended performances within 24 hours, and have subsequently restaged the show on a new set, the outpouring of anecdotes (and expressions of frustration) about productions that have slavishly copied others came pouring out. I expect to write more on this subject.
While it didn’t make the list of my ten most read posts, top on my list of posts that I wish had been more widely read is this one. Written on a day when a combination of medications for an infection laid me low and found me laying on my sofa most of the day, an array of tweets and comments roused me to string together a few sentences which were probably my only coherent thoughts until the drugs wore off. Even if you don’t read the whole post, take a look at the italicized midsection, which is what I actually wrote that day; the rest is subsequent framing.
Truth be told, this was one of my ten most read posts of 2015, but that has little to do with what I actually wrote and everything to do with the video I’d discovered and embedded, once again with framing material that isn’t essential to enjoying the video. My greatest contribution was a snappy title. But if you haven’t seen it and need a laugh at year end, this vid’s for you.
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My thanks to everyone who read, commented, shared, tweeted or wrote to me in connection with my writing this year, and special thanks to those who brought situations to my attention so that I could explore them and share them even more broadly. You all have my very best wishes for a safe, happy, arts-filled 2016.
Howard Sherman is director of the Arts Integrity Initiative at The New School College of Performing Arts and interim director of the Alliance for Inclusion in the Arts.
November 17th, 2015 § Comments Off on Anna Deavere Smith: “I Want People To Be Driven To Action” § permalink
“I come at this more like a lawyer, who would say that everybody has a right to a fair trial. Or a journalist, or a priest, who would hear the confession.”
– Anna Deavere Smith
On November 7, I had the opportunity to interview Anna Deavere Smith as part of the third annual “Stage The Change: Theatre As A Social Voice” conference, a day-long event of panels and workshops for high school and college students, a collaboration between the Happauge Public Schools and The Tilles Center at LIU Post. Smith is the creator and performer of such acclaimed “documentary theatre” works as Fires in the Mirror, Twilight: Los Angeles 1992, and Let Me Down Easy. What follows is an edited and somewhat condensed portion of that conversation, aimed at the students in attendance.
HOWARD SHERMAN: No one typically has their own theater: you have to find a place to perform, to convince people to let you do this work. How did you create opportunities for yourself originally?
Anna Deavere Smith at LIU Post
ANNA DEAVERE SMITH: I was really trying to learn some things, which is what started me interviewing people in New York in 1980. Just people I saw on the street, or people I saw like the lifeguard where I swam. Then I paired actors with people. So the first one of these that I made had an actor for each person. I just rented a loft in downtown in Tribeca before Tribeca was hip. It was just broken down, sort of old factories, and abandoned places. There were these lofts that were put together with empty spaces with wooden floors. That was the first one that I made. I made it by charging actors to take a workshop and they would perform as a result of the workshop, but really it was just enough to cover the cost. I don’t know if actors are still like that, but people are always looking for someway to perform.
HES: Was the initial work about exploring characters or subjects?
ADS: It was just characters.
HES: How long do you take to interview people when you’re working on a piece?
ADS: It depends on the piece. The piece that I’m working on now is about young people, younger than you all, that don’t make it through school. And they end up in the criminal justice system. I started working on that in 2013, but I’ve spent maybe a total of three months, spread out, and I’ve done about 150 interviews to start working on that play. It’s called Notes From The Field: Doing Time in Education. For Let Me Down Easy, I interviewed over 300 people, on three continents, so it took some time, but in the middle of that time, I was occasionally doing more performances and gathering more information as I refined the play.
HES: When you moved from characters to subjects, what galvanized you to shifting the work towards something topical?
ADS: What happened was, I really didn’t have a place to do this in the theater. No theater hired me well into the process. Who did hire me was universities, who in the 1980’s were revising many things about their curriculum, mostly to make more space for literature, ideas, works of art by people of different colors than white – of women, as well as people of different expressions of sexuality than heterosexuality. So I would say that in the 1980’s, across the board in this country what we call the canon, what is the traditional thing we learn, changed dramatically. The conservatory, the playwrights were looking at scripts by either dead or living white males and even someone like a white male like Sam Shepard, and even his work was considered extremely avant-garde. The only woman you would find is Lillian Hellman. You know, maybe Lorraine Hansberry.
The ‘80’s were the time where that really shook up, but what that meant was, that at these universities and at these colleges people were very refined, Smith College, a place like that, or Princeton, there were very, very difficult things about people getting along on campus. I was hired by Princeton to write a piece about the fact that they had only had women for 20 years. Think of the history of Princeton. Princeton exists long enough that men from the South brought their slaves to school with them for a very, very long time. These traditions are very hard to change. So 20 years of women, they asked me to come and make a piece. There were some very difficult things happening on campus, some women had had some sexual assaults and yet the alumni, didn’t want to make the lamps any brighter because they felt it would kill the romance of the campus. Two of the eating clubs – they didn’t have fraternities – still would not accept women. After that, they were forced to do so. Places hired me and it was really to mirror them in transition, to mirror back to them the difficulty they were having in transition. There were a group of women professors in the theater across the country having to deal with new things going on among women or even the fight women were having getting into university. That’s what really made my work become socially oriented.
HES: Why the choice to move from bringing in actors to portray each of these people? Why the choice to have these people, instead of having different people play these different roles, to take them all into yourself?
ADS: Again, it was a very practical reason. I couldn’t imagine how to pay everyone. The first time I got away with it because people were so eager to have a reason to perform. They were like me, they were hardly ever getting cast, they were happy to have a reason to have agents and other people come and see them, and to be working. So they paid me to do a workshop and put that together. So I figured that’s not going to work very long. The notion of getting a grant was way out of my – I couldn’t do that.
But then I remembered that as a kid, I was a mimic. So I thought, well I’ll just do all the parts myself, until I can figure out how to raise money. Then when I could figure out how to raise money, and invited actors to do it, they didn’t really like my process. I think it would be different now. This whole idea of documentary theater, it’s taken off in a big way. When I first started presenting the work to actors, they didn’t like it because they felt so much of the idea of acting training, and maybe these young people today have this idea and maybe not, was the idea of inner truth.
I don’t believe my inner truth is necessarily relevant to the cowboy you saw there [in a video screened at the event]. I’m trying to figure out his inner truth! Things that I’ve learned about language have lead me to understand and believe, and try to exemplify, is that his inner truth, whether he’s telling the truth or not, does live in how he sees. So I’m not into this inner truth stuff. I don’t like the word truth. That’s a moral judgment and it’s a very heavy idea. In those days, I’ve always taught acting since 1973, you know we have these students who would go to conservatory to hear notes from all these teachers. My colleagues would do stuff like yell at people for acting. “You’re lying!” Of course they’re lying, they’re acting.
HES: When actors play roles that aren’t necessarily likable or honest, you often hear the talk about finding some part of them to like. Do you need to like the people and do you even like the people you end up interviewing?
ADS: Well, I love everybody I interview. In my Ted talk, I performed a woman who sat on her bedside while her boyfriend killed her daughter. Murder, that’s murder, she’s an accomplice to murder. And I met her in a penitentiary in Maryland. I come at this more like a lawyer who would say that everybody has a right to a fair trial. Or a journalist, or a priest, who would hear the confession, most likely of the person who did the most despicable thing. And I think of people in terms of their fate in life.
Anna Deavere Smith at LIU Post
I think a person who does a very despicable thing like the women who let her child be killed is trapped not only in prison but in her own crisis of what she did when she recognizes what she did, when she sees that reality. And so I think I have a bit of humility about these things. I do believe that in the grace of God, I do believe in old fashion acting techniques, Stanislavski, the father of modern acting, way back in the 19th century. People behave according to their circumstances and how they adjust to those circumstances.
So I don’t know what it would be like for me to live in an environment where I was acquiring drugs, selling drugs, addicted to drugs, was in a relationship with a man who beat me, beat my children, and for whatever reason I learned to understand that as normal. And that would lead me to be so high that I would allow that to happen to my child. My job is to imagine those circumstances and then to find a way to illuminate that for whatever reason.
Maybe the thing I would be trying to illuminate is drug addiction. Maybe I would be trying to illuminate what it does mean for women to live in abusive relationships, right? So I see that person as living a life that is at first unimaginable to me, and then my job is to imagine it. I think as actors, we have chance to do big projects like that. If I were a doctor, I could choose, am I going to be an internist? Am I going to want to do big operations? Am I going to be a surgeon of cancer? You know, I could choose how big I want my project to be. I do think the project of portraying someone who seems to be unlikable, or you know if you meet somebody in your school whose perfectly likable, a cheerleader, but you don’t like her, then the project is how do I get myself to be able to imagine her circumstances and to imagine living in her shoes? Then my project is really living in their words. For me, again, the bigger the project, the better, the bigger leap I have to make, the more I get to exercise my muscles as an artist.
HES: When you set out to do a project, do you always know exactly what you want to explore? Or do you start having conversations and find the subject or the focus that you’re going to take on it?
ADS: I don’t have a take, and my take evolves. For example, my new project is about what some people call the school to prison pipeline. I don’t know if you’ve heard about this at all or you’re starting to hear about it, I started to hear about in 2011, and I’d never heard about it. So the idea is poor kids of color are unfairly disciplined, some of you might have seen this video that has kind of gone viral of a girl in South Carolina who won’t turn her cell phone off and then they bring the cop in and he throws her around in the chair. We see these things.
Say, for example, I started out, with the idea of images in my mind like hearing about a five year old in Florida who was handcuffed, this kind of thing. But the more I looked at it, the more I see that the thing that causes young people to end up in juvenile hall or in these kinds of circumstances are even more complicated than school discipline. So now I would never call it the school to prison pipeline. I don’t know quite what I would call it, but I’d call it something else that allows the project to be seen as about a series of things that make it hard for young people to be in our education system.
HES: You are now, of course, widely known in the theater community and many communities for the work that you do. Has it become easier to gain access to people to interview them or are people now more aware of how you might portray them? And does that, in some ways, make people more guarded?
ADS: Well I think most of the people I interview have never heard of me. At all. And if they have, it’s because they saw me on a television show called Nurse Jackie. Maybe.
Anna Deavere Smith in Let Me Down Easy
I am very aware that my theater is in a very small portion of America. That is the kind that these young people are here to think about, work on, theater about social change. It’s not a big Broadway show. Only one of my works went to Broadway. A lot of people don’t know about my theater work. But what has happened, as you know, these young people would certainly, I mean there doing selfies all the time and filming each other all the time, people are much less inhibited, they don’t care anymore. I used to travel with a tape recorder about that size, now you know I can use my phone, now I bring a camera in, nobody cares!
I think as a society – I’ve been doing this for a long time – as a society we’ve changed in terms of our sense of being public. And we sign a release, some of them don’t even look at it. I encourage them to, take your time, cross out anything you don’t like. But I think it’s also because of all of this stuff, reality television. When I started there wasn’t even Oprah, you know what I mean? All these things that make people feel like, ‘Well I’m a star! I’m telling my tale!’
HES: Can theater create social change or does it begin to go back to your word, mirror social change?
ADS: Well I certainly believe it can be a part of sparing the time and I think it rides that wave, it pushes us farther.
I would say that there are many things on television that had to do with change, even the show I was on Nurse Jackie has to do with something in the human condition which is not a movement. But many people on the street came up to me and told me how much the character Jackie meant to them in their recovery from addiction. Tony Kushner did a lot to help us in a time where we were thinking about the AIDS crisis to well before gay marriage and all that. So I think we that are interested in change are not making the change alone at all. But if we are on the moment of trying to expose something that’s going on, and people come to the theater, it gives them an opportunity to look through in a different way than they see in a newspaper. It causes some people’s hearts to be changed and it can be a conversion. It can cause a conversion in terms of behavior for some folks.
HES: You speak to people in all walks of life. And you sometimes speak to really, really important leaders. What is it like to be an artist who has the ability to speak beyond just the work that you create?
ADS: The irony is that all of you are learning how to perform but the kind of performance that you’re doing, if you’re performing on behalf of social change, at some point is indicating to the viewer this is not a show. I’ve called you here because this is real. I’ve called you. I need to catch you attention. You might not have noticed it on the paper. You might not have noticed it on the news. You may not know. You’ve heard people talk about bullying but you may not really, if you don’t have a child, who’s being bullied, you may not really know. So I would like you to, you heard about it for a little bit of time on CNN 360 or something but I would like you to come in here with your whole heart and mind and visit it with me. Right? So there is this way that when you take on social change, it gets real. Right?
So I think that’s the way one ends up in the company of academics, the President of the United States, governors, chief justices, or justices of the supreme court, are many of the kinds of people that I’ve had the chance to speak with. It’s because of that reality and because we are all in those realms trying to address those realities. And luckily there are many government leaders who do see the value of art as one way of causing people to tend to these issues.
HES: You talk about truth, you talk about reality. You talked about journalism. Is what you do a form of documentary?
ADS: Well, people say that. I suppose it has aspects of that. However the part that is not documentary is that it is my persona, not the persona of the persons. So there’s already that other thing going on. So it’s not really a photograph, right? It has been adjusted and altered, so the fact of the aesthetic part of it is relative. I mean I’m not the cowboy, so maybe there’s something interesting about an African American woman older than this cowboy with assumed different political views, maybe there’s another suggestion about the fact that I’m not him. I think that suggestion is about asking the audience to reach outside their own known world to consider the point of view of someone else or the life of someone else.
HES: Is there a way you would suggest to people how they might approach getting to this work for the first time?
ADS: Interview your little sister. You know, interview the lady next door. The main thing is to talk to somebody you’re really curious about and to see what you have to do to get them to talk. Do they become interesting and more interesting than you thought while you were talking to them? I would say that’s a way to start.
HES: And when you interview people, are you just doing audio or are you doing video?
Anna Deavere Smith in The Pipeline Project
ADS: I’m doing video now. I would like to [put it online] largely because, by the time we’re finished with what I call the “Pipeline Project,” I’ll have at least 200 interviews. I’m only going to perform for an hour and a half on stage. Think of all that material that is never seen. Right? Characters. I think the work could be of use to folks who would like to either now or years from now like to look back on this moment in American history and look at this crisis. So that’s why to put the work out there to be of use.
HES: In an age of what you say selfies and social media, where people are so much more exposed and there are people who desire to be exposed, do you want people when they see your work to think that they are seeing you or do you want to be completely behind your character, the people that you play?
ADS: I’d be more concerned that I don’t want them to think that I’m Mrs. Akalitus from Nurse Jackie. I had a student of mine – I teach at NYU – and one of the graduate students told me that his mother had said, “I just saw your professor on television and I thought you said she was intelligent.”
I see my identity as for rent, and I want them to hear what the people have to say. I want them to hear what I heard. But I hope I don’t get in the way of that. I hope that my presence doesn’t get in the way of that but I know that my presence is there.
HES: The Pipeline Project has played out in Berkeley, California. You said to me that it’s going to have a few performances in Baltimore. Do you want it to have more or do you reach a point where you feel like I’ve done this piece?
ADS: I would like this piece to have more because I feel that the people are ever so compelling and that I want to keep refining them. I know more now about how to do these portrayals than I ever had, and that’s what happens to all of us, we gather information. I have that thing like a baby who knows it’s time to crawl. Your mother’s wondering when is he or she going to crawl? When is he going to walk? And they’re walking and that inner urge that we all have as humans, trying to ride a bike, trying to do something. I do have this great feeling to keep doing this project. To keep refining these portrayals. To keep trying to make the lens that I’m using to look at this large enough that it could be of use to the public.
HES: Obviously you go to a lot of different places to conduct your interviews, but you also perform in a number of different places. What is the experience if you know that one or more of the people that you’re portraying is in the house when you’re doing the show?
ADS: I’m nervous about it, I do invite them all. I want them to see it. And you know, I hope that they are not too self conscious or upset. I don’t think people tell me the truth about what they see. But it is important to me that they are invited and that their families are there.
HES: Very often, writers who are writing a conventional script, a writer who is sitting at the computer, creating the story, are sort of going towards wanting you to think something, wanting you to come out with a thing, or a group of things. Do you want people to come away with a particular thing?
ADS: This generation here is probably the first generation in a very long time, certainly in my lifetime, who actually comes to school to look at artistic practice for social change. This is the first time I’ve ever heard of this happening in high school. It’s usually Guys and Dolls or West Side Story or whatever the latest thing is, right? A Chorus Line. You get to be in the show! Right?
There’s always this concern that if you apply yourself like this, that you’re being didactic, or being political, right? So the people running for President want you to think something. ‘I’m the baddest of the bad and I’m the one that you should elect,’ right?
I want people to be driven to action. I want them to write a check to make something better for a kid somewhere. I want them to become involved in early childhood if they can. I want them to think about these kids, [about] who they want to elect as President of the United States. I want them to think about these kids when they decide who the mayor is in their town.
I want them to think differently about a kid who is walking by in the “iconic” hoodie with his pants down quite low in the back, because that’s what I want to consider. These kids who we lock up might not all be as dangerous as we think, in fact they’re very, very vulnerable to some profound inequities in society that make living pretty dangerous where they live. I want people who can do stuff to do stuff even if it’s, ‘I’ll walk a kid to school who has to cross a gang line’ or drive them or whatever. I want people to move up and do things the way that people did things when I grew up in the Civil Rights Movement. It’s that kind of moment in American history where people went outside of their normal doing to do a little bit more. I feel that we are really in a moment in our history where we need that to happen.
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Howard Sherman is director of the Arts Integrity Initiative at The New School for Performing Arts School of Drama. Thanks to Briana Rice for editorial assistance with this post.
In a description of Gilbert and Sullivan’s The Mikado: “The location is a fictitious Japanese town.”
“There are no ethnically specific roles in Gilbert and Sullivan.”
The conflict between these two statements seems fairly obvious since even in a fictitious Japanese village, the residents are presumably Japanese, and that is indeed ethnically specific, even if they are endowed with nonsensical names that may have once sounded vaguely foreign to the British upper crust.
The NYGASP Production of The Mikado
Now one could try to explain away this dissonance by saying that the statements are drawn from conflicting sources, however they are both taken from the website of the New York Gilbert & Sullivan Players. The company, which has been producing the works of G&S in Manhattan for 40 years, will be mounting their production of The Mikado at NYU’s Skirball Center from December 26 of this year through January 2, 2016, six performances in total.
It is hardly news that The Mikado is a source of offense and insult to the Asian-American community, both for its at best naïve and at worst ignorant cultural appropriation of 19th century Japanese signifiers, as well as for the seeming intransigence of 20th and 21st century producers when it comes to attempting to contextualize or mitigate how the material is seen today. Particularly awful is the ongoing practice of utilizing yellowface (Caucasian actors made up to appear “Asian”) in order to produce the show, instead of engaging with Asian actors to both reinterpret and perform the piece. Photos of past productions by the NY Gilbert & Sullivan Players suggest their practice is the former.
“History!,” some cry, “Accuracy to the period!” That’s the same foolish argument recently spouted by director Trevor Nunn to explain why his new production of Shakespeare history plays featured an entirely white cast of 22. “But The Mikado is really not about Japan! It’s a spoof of British society,” is another defense. But it has been some 30 years since director Jonathan Miller stripped The Mikado of its faux Japanese veneer and made it quite obviously about the English, banishing the “orientalist” trappings from 100 years earlier. Besides, reviews of prior NY Gilbert & Sullivan Players productions note that the script is regularly updated with topical references germane to the present day, so claims to historical accuracy have already been tossed away.
Looking at the New York Gilbert & Sullivan Players (NYGASP) cast on their website, it appears that the company is almost exclusively white. While our increasingly multicultural society makes it difficult and reductive to assume race and ethnicity based on names and photos, I noted a single person who I would presume to be Latino among the 70 photos and bios, and seemingly no actors of Asian heritage. While I should allow for the possibility that there may be new company members to come, it seems clear that the preponderance of The Mikado company will be white.
Was it only a year ago that editorial pages and arts pages erupted over a production of The Mikado in Seattle precisely because of an all-white cast? Is it possible that in the insular world of Gilbert and Sullivan aficionados, word didn’t reach the founder and artistic director of NYGASP, Albert Bergeret? I doubt it. In Seattle, the uproar was sufficient to warrant a gathering of the arts community to air grievances and discuss the lack of racial and ethnic awareness shown by the Seattle troupe. That it followed on another West Coast controversy, a La Jolla Playhouse production of The Nightingale, a musical adaptation of a China-set Hans Christian Andersen tale that utilized “rainbow casting,” rather than ethnically specific casting, only added fuel to the justifiable controversy.
This year, The Wooster Group sparked protest on both coasts with its production of Cry Trojans, an adaptation of Shakespeare’s Troilus and Cressida that had members of an all-white company in redface portraying Native Americans and appropriating Native American culture, as viewed through the wildly inaccurate prism of American western movies. Yet in a victory for ethnically accurate casting earlier this year, a major Texas theatre company recast its leading actor in The King and I when it was made abundantly clear by the Asian American theatre community that a white actor as the King of Siam simply wasn’t acceptable.
The NYGASP production of The Mikado (photo by William Reynolds)
That NYGASP will be performing on the NYU campus makes the impending production all the more surprising. It is highly doubtful that the university’s arts programs would undertake an all-white Mikado any more than they would do an all-white production of Porgy and Bess (although copyright probably prevents them from attempting the latter). College campuses are where racial consideration is at the forefront of thinking and action. Is it possible that The Mikado is in the Christmas to New Year’s slot precisely because school will not be in session and the university will be largely vacant, mitigating the potential for protest? Without school in session, NYGASP can’t even take advantage of the university community, if both parties agreed, to contextualize this production as part of a broader cultural conversation, not to explain it away, but to interrogate the many issues it raises.
“We can’t find qualified performers in the Asian-American community,” is another one of the frequent defenses of yellowface Mikados. After 25 years of countless productions of Miss Saigon, a revised Flower Drum Song with an entirely Asian-American cast, and two current Broadway productions (The King and I and the impending Allegiance) with largely Asian casts, it’s not possible to claim that the talent isn’t out there. Excuses about training or worse, diction (which is noted on the NYGASP site), are utterly implausible.
Admittedly, even with racially authentic casting, The Mikado is a problematic work, since it is rooted in ignorant stereotypes of Japan and not in any real truth. Does that make it unproducible, like, say The Octoroon (as explored by Branden Jacobs-Jenkins’s revisionist An Octoroon), or any number of early musical comedies which traded in now-offensive racial humor? No, as Jonathan Miller proved 30 years ago. And while it seems contradictory, even if the text and characterizations of The Mikado are retrograde, if it is to be done, at least it should be interpreted by Asian actors, who are afforded too little opportunity in theatre, musical theatre, operetta and opera as it is. There are any number of Asian performers who will discuss their reservations about Miss Saigon as well, but at least it affords them work, and the chance to bring some sense of nuance and authenticity to the piece. The same should be true of The Mikado.
The upset surrounding The Mikado at the Skirball Center has just begun to bubble up, originating so far as I saw with Facebook posts from Leah Nanako Winkler, Ming Peiffer, and Mike Lew; Winkler has already posted a blog in which she speaks candidly with NYGASP’s Bergeret and Erin Quill has a strong take as well. Hopefully a great deal more will be said, with the goal that instead of keeping The Mikado trapped in amber as G&S loyalists seem to prefer, it will be brought properly into the 21st century if it is to be performed at all. In a city as large as New York, maybe there are those who see six performances of The Mikado as being insignificant and not worthy of attention. But in a city as modern and multicultural as New York, can and should a yellowface, Causcasian Mikado be countenanced? Now is the time for the last (ny)gasp of clueless Mikados.
Update, September 16, 2 pm:NYGASP has replaced the home page of their website with a statement titled, “The Mikado in the 21st Century.” It reads in part:
Gilbert studied Japanese culture and even brought in Japanese acquaintances to advise the theater company on costumes, props and movements. In its formative years, NYGASP similarly engaged a Japanese advisor, the late Kayko Nakamura, to ensure that our costumes and sets remain true to the spirit of the culture that inspired them. We are dedicating this year’s production of The Mikado to her memory.
One hundred and forty years after the libretto was written, some of Gilbert’s Victorian words and attitudes are certainly outdated, but there is vastly more evidence that Gilbert intended the work to be respectful of the Japanese rather than belittling in any way. Although this is inevitably a subjective appraisal, we feel that NYGASP’s production of The Mikado is a tribute to both the genius of Gilbert and Sullivan and the universal humanity of the characters portrayed in Gilbert’s libretto.
In all of our productions, NYGASP strives to give the actors authentic costumes and evocative sets that capture the essence of a foreign or imaginary culture without caricaturing it in any demeaning or stereotypical way. Lyrics are occasional altered to update topical references and meet contemporary sensibilities; makeup and costumes are intended to be consistent with modern expectations.
Update, September 16, 4 pm: Since I made the original post yesterday, several other pertinent blog posts have appeared, and I wanted to share them as well. There are many aspects to this conversation.
Update, September 17, 7 am: NYGASP has posted the following message on their Facebook page:
Update, September 18, 8 am: Overnight, NYGASP announced that they are canceling their production of The Mikado at the Skirball Center, replacing it with The Pirates of Penzance. A statement on their website reads as follows:
New York Gilbert & Sullivan Players announces that the production of The Mikado, planned for December 26, 2015-January 2, 2016, is cancelled. We are pleased to announce that The Pirates of Penzance will run in it’s place for 6 performances over the same dates.
NYGASP never intended to give offense and the company regrets the missed opportunity to responsively adapt this December. Our patrons can be sure we will contact them as soon as we are able, and answer any questions they may have.
We will now look to the future, focusing on how we can affect a production that is imaginative, smart, loyal to Gilbert and Sullivan’s beautiful words, music, and story, and that eliminates elements of performance practice that are offensive.
Thanks to all for the constructive criticism. We sincerely hope that the living legacy of Gilbert & Sullivan remains a source of joy for many generations to come.
David Wannen Executive Director New York Gilbert & Sullivan Players
Update, September 18, 3 pm: The NYGASP production of The Mikado was scheduled to be given a single performance on the campus of Washington and Lee University this coming Monday evening, September 21. As of this afternoon, the production has been replaced with the NYGASP production of The Pirates of Penzance.
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Howard Sherman is the interim director of the Alliance for Inclusion in the Arts.
“You can’t draw sweet water from a foul well,” critic Brooks Atkinson wrote of his initial reaction to the musical Pal Joey. I don’t know whether Christopher Hart of The Sunday Times in London knows this famous quote, but it certainly seems to summarize his approach to reviewing the London premiere of Stephen Adly Guirgis’s The Motherfucker With The Hat, which one can safely say is light years more profane than the Rodgers and Hart musical.
Alec Newman, Ricardo Chavira & Yul Vázquez in The Motherfucker With The Hat at the National Theatre
“A desperately boring play,” “an absolute stinker of a play,” “untrammelled by such boring bourgeois virtues as self-restraint or good manners,” “turgid tripe,” and “a pile of steaming offal,” are among the phrases Hart deploys about Guirgis’s Hat. While I happen to not agree with him (and admittedly I saw the Broadway production, not the one on at the National Theatre), he is entitled to these opinions. It may not be particularly nuanced criticism, but it’s his reaction. There are other British critics with opposing views (The Guardian and The Independent), and some who agree (Daily Mail), so there’s no consensus among his colleagues. But within his flaying of the play, Hart reveals classist, racist and nationalist sentiments that, however honestly he may be expressing them, prove why he is unable to assess the play on its own terms, empathizing with its flawed characters, as any good critic should endeavor to do.
Take this example: “Like the white working class in this country, the PRs in America have picked up a lot of black patois.” Even allowing for differences in language between England and the U.S., referring to residents of Puerto Rico and “the PRs” is patently offensive, and also hopelessly out of date, all at once. The statement also suggests that Puerto Ricans are in some way foreign, when the island itself has been part of America for more than a century; it’s perhaps akin to saying “the Welsh in Great Britain” as if they’re alien. When he parses “black patois” as the difference between saying “ax instead of ask,” Hart presents himself as Henry Higgins of American pronunciations, which I strongly suspect he picked up from watching American television and film, without any real understanding of racial culture or linguistics here – and he generalizes condescendingly about a huge swath of the British populace for good measure.
Hart also refers to the “very brief entertainment to be had in trying to work out” the ethnic background of the character Veronica, first musing that she might be “mixed race African American” but acknowledging her as Puerto Rican “when her boyfriend calls her his ‘little taino mamacita’.” I don’t know why he was fixated on this issue, presumably based on a parsing of the skin color of the actress in the role, especially since the play provided him with the answer (though the same problem has afflicted U.S. critics encountering Puerto Rican characters as well). Would that he were more focused on the character and story. He briefly describes the plot as being about “one Veronica, who lives in a scuzzy apartment off Times Square, snorts coke and sleeps around. Oh, and she shouts a lot.” In point of the fact, the play is an ensemble piece, and if any one character dominates, it’s Jackie, the ex-con struggling to fight his addictions and set his life straight.
After going off on a tear about the play’s profanity, Hart makes a comment about the play’s dialogue, saying, “A lot of it is ass-centred, in that distinctive American way.” As an American, I have to say that I’m unfamiliar with our bum-centric obsession, outside of certain pop and rap songs, even if Meghan Trainor is all about that bass. But hey, I’ve only lived here my whole life, and spent 13 of those years living and working in New York, a melting pot of culture and idiom. What do I know?
I don’t happen to read Hart with any regularity, but my colleague at The Stage, Mark Shenton, has noted his tendency to antagonistic hyperbole in the past, having called Hart out for separate reviews of Cabaret and Bent which both seem puritanical and, in the latter case, homophobic. While I peruse a number of UK papers online, both via subscription and free access, even my limited exposure to Hart’s rhetoric suggests that The Sunday Times is an outlet whose paywall I shall happily leave unbreached.
I was actually going to shrug off the ugliness of the Hat review, but only about an hour after I read it, I came across some letters to the editor in The Boston Globe, responding to a review of A. Rey Pamatmat’s Edith Can Shoot Things and Hit Them at Company One Theatre. While I don’t think the critic in this case, Jeffrey Gantz, was trying to be inflammatory (as I’m fairly certain Hart was), he revealed his own biases in seemingly casual remarks. Noting that two of the characters are Filipino-American, he wrote:
They make the occasional reference to their favorite Filipino dishes, but I wish more of their culture was on display, and it seems odd that they have no racial problems at school.
Maria Jan Carreon and Gideon Bautista in Edith Can Shoot Things and Hit Them at Company One Theatre
Not every character with a specific racial or ethnic origin need demonstrate it for our consumption on stage; it may not be germane to the play or perhaps the characters created by Pamatmat are more steeped in American culture than Filipino. The statement is the equivalent of saying about me, were I a character, that though I mention matzoh ball soup and pastrami, it would be nice if I spoke more Yiddish, wore a yarmulke, or waxed rhapsodic about my bar mitzvah. My grandparents were all immigrants to the U.S., so I’m only second generation American, not so far removed from another culture and schooled at length in my religion, but I don’t constantly remind people of those facts.
As for not experiencing intolerance at school, Gantz must have a singular idea of what every young person who is not white experiences on a daily basis. That’s not to say that there isn’t ugliness and ignorance directed at people of color far too regularly at every level of American life, but perhaps that isn’t germane to the story Pamatmat wants to tell or part of the personal experience he draws upon (he’s from Michigan, incidentally). It’s not as if “racial problems” for students of color are an absolute rule of dramaturgy that must be obeyed.
That said, it’s ironic that Gantz criticizes the play for taking on “easy targets, notably bigotry and bad parents.” The fraught relationship between parents and children has been the fodder of drama since the Greeks, and it seems an endlessly revelatory subject; as for bigotry, if it is perceived as an “easy” subject, then perhaps Gantz, despite wishing “racial problems” on the characters, has no real understanding of the complexity of race in America and the many forms bigotry can take, enough to fuel 1,000 plays and playwrights or more. But he’s complaining that Pamatmat hasn’t written the play that Gantz wants to see, rather than assessing the one that was written.
I can’t speak to the general editorial slant of The Sunday Times, so while Hart’s recent rant may be in keeping with the paper’s character, I don’t think the implicit racial commentary of Gantz’s review is consistent with the social perspective of The Boston Globe. That leads me to wonder, as I have before, what role editors play when racial bias appears in reviews, such as in a Chicago Sun-Times review that appeared to endorse racial profiling. Yes, these reviews are each expressions of one person’s opinion, but they are also, by default, opinions which are tacitly endorsed by the paper itself. Reading these reviews just after following reports from the Americans in the Arts and Theatre Communications Group conferences, which demonstrated a genuine desire on the part of arts institutions to address diversity and inclusion, I worry that if the arbiters of art continue to judge work based on retrograde social views, it will only slow progress in the field that, as it is, has already been too long in coming.
Howard Sherman is director of the Arts Integrity Initiative at The New School College of Performing Arts School of Drama and senior strategy consultant at the Alliance for Inclusion in the Arts.
A number of New York police officers attended the performance to insure that the sidewalk would not be blocked for passers-by. To achieve that objective, the NYPD cordoned off each performance group using the often-seen “bicycle rack” dividers. The three “church” representatives, who seemed to revel in their one-note portrayals, were spaciously accommodated with room to spare in their pen. The Juilliard/La Guardia contingent grew sufficiently large that the police obliged them by twice expanding their area, which was initially equal in dimension to that provided to the “church,” and still other students massed outside of it. At its peak, roughly five dozen people were in the Juilliard performance space.
While much will be written about the passing of Muhammad Ali, he does leave us with a theatrical footnote. I’m speaking of his single Broadway role, as the lead in 
