Given the disastrous reduction in live theatre that has marked the pandemic since March of 2020, one might assume that incidences of high school shows canceled over content concerns would have been curtailed as well. But as lockdowns have been lifted and as theatre educators have devised creative means to produce safely, production shutdowns have followed. However, the reason for the cancelations that have risen to public awareness is not typical of what has come before.

Over the past decade, when school theatre productions have been shut down, it is typically because of parents or community members who object to the content of the shows, with particular sensitivity to the representation of LGBTQ lives (Rent, The Laramie Project), the slightest hint of sexual activity (Almost, Maine), violence (Sweeney Todd), or the occasional profanity. The object has ostensibly been to “protect” the students – those in the show, their classmates, and even their younger siblings from engaging in such topics. The intent has been suppression of subjects and themes, all of which the students are most assuredly aware.

What of the recent cancelations?

In late February, McCaskey High School in the Lancaster PA school district canceled the spring production of Hairspray because of students who were troubled by language they found offensive regarding Black and Hispanic characters and people with disabilities. An email from a group of students to their principal was forwarded on to the superintendent, who made the decision to cancel the show.

In March, The Chadwick School, a private school in Palos Verdes Peninsula CA, shut down a planned production of the school edition of Avenue Q. A message from the administration to parents said that while “the musical had the full support of the administration…elements of our community felt uncomfortable, based on principle, with some of the tone, timing and content of the show.” The message went on to say, “The original work has been praised for its irreverent and provocative approach to themes such as race and sexuality,” but that while “theater is an effective forum to explore important topics such as these, we also believe it is important to respect the perspectives of the individuals who raised concerns.”

This week, the Hunterdon Central Regional High School canceled plans to produce South Pacific because staff and students were concerned about the show’s treatment of race. According to NJ.com, citing the district superintendent, “the district believed [South Pacific] was ‘important and relevant,” but also that “the district was aware the musical featured stereotyped characters and dialogue, and originally intended to offer a concert version that ‘significantly reduced the dialogue’.” There is no indication whether or not Concord Theatricals, which licenses the Rodgers & Hammerstein catalogue, had approved of the concert-style cutting of the show.

While the specifics at The Chadwick School are somewhat vague in the administration’s statement, and it’s unclear where the objections originated, at McCaskey and Hunterdon the source is apparent: it’s students who wanted to see the shows shut down or replaced, specifically because they felt that portrayals and dialogue were insensitive and offensive to often marginalized communities. These incidents echo what transpired at Ithaca High School in 2018, when students pushed for the shut down of a production of The Hunchback of Notre Dame after a white student was cast in a role that had been played in prominent professional productions by a BIPOC actor.

In the wake of the heightened awareness surrounding discussions of race engendered by the Black Lives Matter movement, and perhaps influenced by the advocacy of such groups as We See You White American Theatre and the Broadway Advocacy Coalition, it should not be surprising that high school students are not simply aware of, but motivated by, such concerns. Given that the racial reckoning of the past couple of years mirrors the societal upheaval around civil rights and, on its heels, youth culture in the 1960s, activism by high school students is far from surprising, especially when one considers the greater sophistication of teens in comparison with those over 50 years ago.

When the Ithaca students spoke out in 2018, their efforts yielded death threats over their fight for representation, spurred on by right-wing sites like The Daily Caller. This week, Fox News, already deeply engaged in spreading the canard of cancel culture in relation to Dr. Seuss and the Warner Brothers characters Speedy Gonzales and Pepe le Pew, have embraced the South Pacific situation as merely another example of what they decry, namely the ostensible disappearing of material that they consumed in the days before distinct communities (women, BIPOC, disability) communities were afforded a voice to express the offense given by certain portrayals and the increasing willingness of both individuals and corporations to avoid slurs.

Adults of a certain age may not even understand where the offense lies in the Dr. Seuss books withdrawn, or appreciate how an aggressively romantic skunk might echo sexual harassment or worse. Some of that comes from being brought up in an era with different mores or only remembering the barest outlines of material they consumed decades ago. They may further be confused by the weaponization of these stories being treated as examples of yet more “political correctness,” another catch-all term, like “cancel culture,” both applied to denigrate present-day sensitivity to and concern about works which once punched down at certain people with impunity.

There is no question that given only a cursory glance, the suspension of certain high school productions looks like censorship – it is, in the case of public schools at least, government officials ending a form of expression. When it rises to that level, it is very difficult to countenance, even when done in order to avoid perpetuating harm through uncritical representations of misogyny, racial bias and the like.

So the first question to be asked of the faculty and administration is, “What was the rationale for selecting this show?” “How were its dialogue and themes considered in light of present-day viewpoints on how some works may have grown dated?” “Does this material still say what it intended back in its original era?” While some of these questions may seem absurd with such modern material as Avenue Q or Hairspray, it’s worth remembering that both are around 20 years old. South Pacific is considerably older.

The next question is whether, in recognizing what some may view as problematic material, any effort was made to contextualize it for students and even the larger community. Some may object to the use of the n-word in certain texts, but does that mean the works of August Wilson shouldn’t be studied or performed in a high school setting? How, and by whom, students are led to understand certain material can have a significant impact or the repertoire open to schools. While Wilson’s estate will not permit the alteration of his texts, that is not always the case for all works in high school settings. If a handful of words render a work ostensibly unperformable, the author(s) or their estate(s) may grant dispensation for certain changes.

That it was the student version of Avenue Q that raised objections in California is interesting in that the text and lyrics had already been altered to render it more fit by some for school performances. Perhaps it is due for another review. Yet at the same time, it may reach a point where the bowdlerization of the material renders it so unrecognizable that it becomes a different work altogether. The degree to which that does or does not occur is entirely at the discretion of its creators.

It is important to note that unlike some high school shows that were shuttered specifically to suppress ideas like racial, gender and sexual equality, the decision in Lancaster over Hairspray was not shrouded in short, blunt statements. Instead, the superintendent, Dr. Damaris Rau, wrote a blog post fully explaining her decision. She wrote in part:

I also believe context matters. Our country has gone through some horrific events, including the murder of George Floyd. I know many of our students participated in the social justice marches this summer. We know mental health issues of adolescents have grown and intensified during the COVID-19 pandemic. The language and portrayals in the show risked further discomfort—and potentially trauma—for students facing the harsh reality of racism in our country. In addition, many families bring their younger children to see our musical.

In light of this current environment, the calls for social justice, and the written concerns of the students, I believe this is the best decision at this time.

In emails with Arts Integrity, Dr. Rau elaborated that in addition to specific dialogue in the show, the students had expressed concern that Hairspray is a white savior narrative. She went on to talk about the in-school training around implicit bias, equity, and diversity, which began two years ago.

The objections to South Pacific may prove most surprising because it was written specifically to decry racism – witness “You’ve Got To Be Carefully Taught.” But in its portray of Bloody Mary and Liat weren’t they also deploying stereotypes that have become more and more obvious as racial awareness has evolved over the past 70 plus years? Those who believe vintage anti-racism texts can’t possibly become problematic need only look to another musical from roughly the same era, Finian’s Rainbow, which used blackface in order to fight racism.

Nothing herein should be considered to advocate for the alteration of texts to avoid any and all offense; we will not benefit from the homogenization of culture. The state of copyrighted texts is the sole purview of creators or their estates, and even if changes are authorized individually or enshrined globally, it is vital that the original versions are retained and preserved, since we should never be comfortable with the permanent erasure of history. But if the Seuss estate decides that it’s works no longer are fit for purpose and withdrawn from commercial circulation, that is their absolute right and represents an understanding of societal change, not cancelation but consideration.

Consideration of texts for school theatre is essential as well. Just because educators have always loved a show from their youth doesn’t necessarily make it the best choice for today or for their target audience. By the same token, a flight to safety will not serve either, because theatre is indeed a place where hard issues should be on the table, but only when properly contextualized for those putting on the performance and those who are intended to see it.

It serves no one to have shows shut down. Before a show is announced or auditions held, work must be chosen in the very best interest of the students, with the goal of a fair and equal society, work which does not demean but educates and even lifts up. When it comes to how works of prior eras are perceived today by their students, even teachers may have to be carefully taught.

Given the disastrous reduction in live theatre that has marked the pandemic since March of 2020, one might assume that incidences of high school shows canceled over content concerns would have been curtailed as well. But as lockdowns have been lifted and as theatre educators have devised creative means to produce safely, production shutdowns have followed. However, the reason for the cancelations that have risen to public awareness is not typical of what has come before.

Over the past decade, when school theatre productions have been shut down, it is typically because of parents or community members who object to the content of the shows, with particular sensitivity to the representation of LGBTQ lives (Rent, The Laramie Project), the slightest hint of sexual activity (Almost, Maine), violence (Sweeney Todd), or the occasional profanity. The object has ostensibly been to “protect” the students – those in the show, their classmates, and even their younger siblings from engaging in such topics. The intent has been suppression of subjects and themes, all of which the students are most assuredly aware.

What of the recent cancelations?

In late February, McCaskey High School in the Lancaster PA school district canceled the spring production of Hairspray because of students who were troubled by language they found offensive regarding Black and Hispanic characters and people with disabilities. An email from a group of students to their principal was forwarded on to the superintendent, who made the decision to cancel the show.

In March, The Chadwick School, a private school in Palos Verdes Peninsula CA, shut down a planned production of the school edition of Avenue Q. A message from the administration to parents said that while “the musical had the full support of the administration…elements of our community felt uncomfortable, based on principle, with some of the tone, timing and content of the show.” The message went on to say, “The original work has been praised for its irreverent and provocative approach to themes such as race and sexuality,” but that while “theater is an effective forum to explore important topics such as these, we also believe it is important to respect the perspectives of the individuals who raised concerns.”

This week, the Hunterdon Central Regional High School canceled plans to produce South Pacific because staff and students were concerned about the show’s treatment of race. According to NJ.com, citing the district superintendent, “the district believed [South Pacific] was ‘important and relevant,” but also that “the district was aware the musical featured stereotyped characters and dialogue, and originally intended to offer a concert version that ‘significantly reduced the dialogue’.” There is no indication whether or not Concord Theatricals, which licenses the Rodgers & Hammerstein catalogue, had approved of the concert-style cutting of the show.

While the specifics at The Chadwick School are somewhat vague in the administration’s statement, and it’s unclear where the objections originated, at McCaskey and Hunterdon the source is apparent: it’s students who wanted to see the shows shut down or replaced, specifically because they felt that portrayals and dialogue were insensitive and offensive to often marginalized communities. These incidents echo what transpired at Ithaca High School in 2018, when students pushed for the shut down of a production of The Hunchback of Notre Dame after a white student was cast in a role that had been played in prominent professional productions by a BIPOC actor.

In the wake of the heightened awareness surrounding discussions of race engendered by the Black Lives Matter movement, and perhaps influenced by the advocacy of such groups as We See You White American Theatre and the Broadway Advocacy Coalition, it should not be surprising that high school students are not simply aware of, but motivated by, such concerns. Given that the racial reckoning of the past couple of years mirrors the societal upheaval around civil rights and, on its heels, youth culture in the 1960s, activism by high school students is far from surprising, especially when one considers the greater sophistication of teens in comparison with those over 50 years ago.

When the Ithaca students spoke out in 2018, their efforts yielded death threats over their fight for representation, spurred on by right-wing sites like The Daily Caller. This week, Fox News, already deeply engaged in spreading the canard of cancel culture in relation to Dr. Seuss and the Warner Brothers characters Speedy Gonzales and Pepe le Pew, have embraced the South Pacific situation as merely another example of what they decry, namely the ostensible disappearing of material that they consumed in the days before distinct communities (women, BIPOC, disability) communities were afforded a voice to express the offense given by certain portrayals and the increasing willingness of both individuals and corporations to avoid slurs.

Adults of a certain age may not even understand where the offense lies in the Dr. Seuss books withdrawn, or appreciate how an aggressively romantic skunk might echo sexual harassment or worse. Some of that comes from being brought up in an era with different mores or only remembering the barest outlines of material they consumed decades ago. They may further be confused by the weaponization of these stories being treated as examples of yet more “political correctness,” another catch-all term, like “cancel culture,” both applied to denigrate present-day sensitivity to and concern about works which once punched down at certain people with impunity.

There is no question that given only a cursory glance, the suspension of certain high school productions looks like censorship – it is, in the case of public schools at least, government officials ending a form of expression. When it rises to that level, it is very difficult to countenance, even when done in order to avoid perpetuating harm through uncritical representations of misogyny, racial bias and the like.

So the first question to be asked of the faculty and administration is, “What was the rationale for selecting this show?” “How were its dialogue and themes considered in light of present-day viewpoints on how some works may have grown dated?” “Does this material still say what it intended back in its original era?” While some of these questions may seem absurd with such modern material as Avenue Q or Hairspray, it’s worth remembering that both are around 20 years old. South Pacific is considerably older.

The next question is whether, in recognizing what some may view as problematic material, any effort was made to contextualize it for students and even the larger community. Some may object to the use of the n-word in certain texts, but does that mean the works of August Wilson shouldn’t be studied or performed in a high school setting? How, and by whom, students are led to understand certain material can have a significant impact or the repertoire open to schools. While Wilson’s estate will not permit the alteration of his texts, that is not always the case for all works in high school settings. If a handful of words render a work ostensibly unperformable, the author(s) or their estate(s) may grant dispensation for certain changes.

That it was the student version of Avenue Q that raised objections in California is interesting in that the text and lyrics had already been altered to render it more fit by some for school performances. Perhaps it is due for another review. Yet at the same time, it may reach a point where the bowdlerization of the material renders it so unrecognizable that it becomes a different work altogether. The degree to which that does or does not occur is entirely at the discretion of its creators.

It is important to note that unlike some high school shows that were shuttered specifically to suppress ideas like racial, gender and sexual equality, the decision in Lancaster over Hairspray was not shrouded in short, blunt statements. Instead, the superintendent, Dr. Damaris Rau, wrote a blog post fully explaining her decision. She wrote in part:

I also believe context matters. Our country has gone through some horrific events, including the murder of George Floyd. I know many of our students participated in the social justice marches this summer. We know mental health issues of adolescents have grown and intensified during the COVID-19 pandemic. The language and portrayals in the show risked further discomfort—and potentially trauma—for students facing the harsh reality of racism in our country. In addition, many families bring their younger children to see our musical.

In light of this current environment, the calls for social justice, and the written concerns of the students, I believe this is the best decision at this time.

In emails with Arts Integrity, Dr. Rau elaborated that in addition to specific dialogue in the show, the students had expressed concern that Hairspray is a white savior narrative. She went on to talk about the in-school training around implicit bias, equity, and diversity, which began two years ago.

The objections to South Pacific may prove most surprising because it was written specifically to decry racism – witness “You’ve Got To Be Carefully Taught.” But in its portray of Bloody Mary and Liat weren’t they also deploying stereotypes that have become more and more obvious as racial awareness has evolved over the past 70 plus years? Those who believe vintage anti-racism texts can’t possibly become problematic need only look to another musical from roughly the same era, Finian’s Rainbow, which used blackface in order to fight racism.

Nothing herein should be considered to advocate for the alteration of texts to avoid any and all offense; we will not benefit from the homogenization of culture. The state of copyrighted texts is the sole purview of creators or their estates, and even if changes are authorized individually or enshrined globally, it is vital that the original versions are retained and preserved, since we should never be comfortable with the permanent erasure of history. But if the Seuss estate decides that it’s works no longer are fit for purpose and withdrawn from commercial circulation, that is their absolute right and represents an understanding of societal change, not cancelation but consideration.

Consideration of texts for school theatre is essential as well. Just because educators have always loved a show from their youth doesn’t necessarily make it the best choice for today or for their target audience. By the same token, a flight to safety will not serve either, because theatre is indeed a place where hard issues should be on the table, but only when properly contextualized for those putting on the performance and those who are intended to see it.

It serves no one to have shows shut down. Before a show is announced or auditions held, work must be chosen in the very best interest of the students, with the goal of a fair and equal society, work which does not demean but educates and even lifts up. When it comes to how works of prior eras are perceived today by their students, even teachers may have to be carefully taught.

Context is everything.

If you ask the average parent whether, in the abstract, they want to hear a student, any student, saying the n-word from the stage of their local high school auditorium, the answer (hopefully) would  be no. Put that word in its full context in the musical Ragtime, or in the plays of August Wilson, and those familiar with the works may feel differently.

Ask parents whether they’d like to hear students say words like “ass” and “skanky” from a school stage, and odds are they wouldn’t be keen on it. But put it in the context of the significantly edited school edition of Avenue Q, which is vastly less transgressive than the original, and it’s not quite so jarring, since its language is heard in network television comedies regularly.

The social media post from rehearsal of The Foreigner at New Prague High School

So when a photo of students dressed as Ku Klux Klan members began circulating on social media in the New Prague High School community in New Prague, Minnesota, with the message “I think you’re gonna want to come to the spring play,” there was understandable concern and outrage.

The image was from a dress rehearsal of Larry Shue’s mid-80s comedy The Foreigner, and the Klansmen appear briefly in sheets and hoods at the climax of the show as a threat to the shy title character, after the racist behavior of the Klan and their like have been clearly made out as ugly and malignant in the show. The Foreigner is hardly a social justice piece and it does use the Klan for humor, but it in no way endorses their real-life behavior.

Because this took place just a week before the performances, New Prague High School decided to quell the furor by shutting down the production entirely on Monday, three days after the post went up and just days before the performance dates. The school’s e-mail read as follows:

Dear Parents and Students,

We are sending this communication to notify you that our spring play, The Foreigner, has been cancelled.  On Friday afternoon, a NPHS student involved in the play posted a captioned photo on social media of some fellow cast members in KKK costumes that are used in the final scene of the play to depict an evil force in the story. Administration was made aware of the posting, and the insensitive nature of this post.

As we reviewed the social media post and conducted meetings with our theatre director and concerned community members, we feel it is in the best interest of New Prague Area Schools to not present the show this weekend.

This situation will also allow us the opportunity to have conversations with our students, staff and community as we continue to work at embracing a culture of acceptance and respect for all students within New Prague Area Schools.

Regards,

Lonnie Seifert, Principal

Tom Wetschka, Assistant Principal

Principal Seifert further elaborated in a conversation with Minnesota Public Radio:

Is it disappointing? Yes, I’m disappointed for the kids that invested so much time in the play and performing. But I think we also need to look at the big picture of our students and I’m disappointed some of our students had to go through the feelings that they went through seeing that (social media) post.

As Paul Walsh reported in the Minneapolis Star-Tribune, there are only twelve black students at New Prague High School, in a student body of 1300 (he didn’t include data about other students of color). But regardless of the number of black students or all students of color at New Prague, a social media image of Klansmen and a mention of the school play created a fraught situation, presumably unknowingly on the part of the student who shared the photo. The school’s desire to send the message that it did not support either the Klan or clueless depictions of the Klan on its stage, with the clock ticking towards performances, was swift action with a commendable goal at heart, namely to send an anti-racist, anti-Klan message.

The question remains as to whether they made the right decision, since they shut down the show rather than trying to immediately grapple with the issues it raised. As acknowledged earlier, The Foreigner is not a nuanced depiction of racism and violence, but rather a light comedy bordering on farce, written with a sensibility that’s now 30 years old; past productions have engendered comments about the use of the Klan as comic foils, as well as concerns about its portrayal of a character with an intellectual disability. The show was last seen in a major New York production in 2004 at the Roundabout Theatre Company, with Matthew Broderick in the title role, but it is a staple of school and community theatre.

In a report on WCCO-TV, a CBS affiliate, Ben Thietje, the school’s drama teacher and director said that the cancelation “was a unanimous decision made by school administration and myself. The play has a positive message of acceptance and celebration of differences. However, if it also causes stress to a portion of our student body, the point of performing it has been lost. The well-being of our students is the main concern. I take full responsibility in not doing a better job of communicating this message with students from the beginning.”

But could the school have scrapped some lesson plans this week to focus on the insidious, vicious history of the Klan and explored how the play does or doesn’t represent that well? It would have taken a concerted effort, with committed faculty and administrators calling on outside experts to swarm and address the issue. It could have been managed if everyone committed very quickly.

Unlike Ragtime in Cherry Hill, New Jersey, where the school had six weeks to prepare students for the racial slurs that would be uttered onstage, New Prague was certainly under pressure. Unfortunately, in alleviating the concerns provoked by the photo, the school negated the work done by the students in the show and sent the message that cancelation, censorship, is the best response when the arts are challenged, even with legitimate concerns.

Promotional button for the 1984 Off-Broadway production of The Foreigner

There are works of theatre, both comic and dramatic, that when picked apart, can often reveal some element that might prove objectionable in the abstract, shorn of its context within the work. There can also be objections when older shows are blithely presented simply as the “entertaining” school play, without educational and social context. It’s for others to decide whether The Foreigner remains a funny farce for today’s sensibilities, or whether it has aged into a work that reflects a less aware time in an unflattering mirror.

No matter whether a piece of school theatre is overtly speaking to political and social issues or merely touches upon them casually, it’s essential that educators take a good look at what they’re producing, how it speaks to students today – rather than how it spoke to audiences when it was first written, or even a decade ago – and create the appropriate context for that work, above and beyond just producing it to the best of their and their students’ abilities. This shouldn’t be construed as making the case for safe work, but rather for insuring that school productions aren’t islands unto themselves, for making them part of a comprehensive approach that grounds all school theatre in multiple contexts: as theatre, as literature and as a valuable part of the broader educational process not only for those involved in the production, but for the school community at large.

Note: Before this piece was written, Arts Integrity sent e-mails requesting interviews with New Prague principal Lonnie Seifert and Assistant Principal Tom Wetschka, and also left voice mail for Seifert. No response was received by the time this piece was posted, but updates will be made, as appropriate, should they respond. The school district office said there was no communications officer for the district and that all questions should be directed to Seifert and Wetschka.

When incidences of high school theatre censorship arise, the point at which they occur, and when that breaks out beyond school walls, can be central to efforts to reverse the decision. At other times, one finds webpages like the one above, from Danville Area High School in Pennsylvania in late January.

The recent debate in Cherry Hill NJ over Ragtime is an excellent case in point. The decision by the school administration to alter all “offensive” language in the play, without permission from the licensing house or the authors, arose while the show was in rehearsals, six weeks before performances were to begin. The school publicly announced its plan to alter the play’s text, to placate those who objected to words within it, which if enacted would have caused the school to lose the rights to perform the show at all. A broad lobbying effort ensued to make the case that Ragtime was much more than the handful of slurs that are essential to the work, and advance its message of acceptance and inclusion. It had sufficient time to have an effect, echoing other such efforts in recent years in Plaistow NH over Sweeney Todd and Trumbull CT over Rent. Ragtime opens in one week.

But even as the initial decision adverse to Ragtime was being reversed, productions in Fresno CA and Danville PA were irrevocably ended, with school officials forcing a student-directed production of Sartre’s No Exit to end after the first of its three performances, and the school edition of Avenue Q canceled in favor of James and the Giant Peach, to be performed in April.

*   *   *

Poster design by Dominic Grijalva for No Exit at Buchanan High (via Facebook)

Homophobia was cited as the cause of the cancellation of No Exit in Clovis CA, at Buchanan High School in late January. Jared Serpa, the student directing the show as his senior project, as part of the school’s drama program known as Bear Stage, made the charge in an online video, citing a complaint by a member of the audience at the first performance and a conversation he had with a faculty member which specifically identified the gay character as being problematic, should a parent bring a young child and have to explain why one woman was trying to kiss another. The remaining performances were immediately shut down.

“Talk with your children about reality,” urged Serpa in his video. “Don’t put them in this bubble and darkness … because you couldn’t find the courage to talk to your own child about the fact that people are different.”

Speaking to The Fresno Bee, Clovis Unified spokesperson Kelly Avants denied the charge of homophobia, saying “We own the fact that it should never have even been approved as a senior production in the first place. Being a K-12 institution, the expectation of our drama programs is that every production they do is to be age-appropriate content.”

An online fundraising campaign, to move the production off campus, quickly raised more than $1,000. But that move isn’t happening.

After conversations between Serpa and the school, subsequent to the canceled performances, they reached what was described as a mutual decision not to go forward with the show on or off campus. Serpa described it as letting the show “peacefully die,” in a second Twitter video. Serpa cited the pressure the situation was putting on his cast, comprised primarily of students who were not seniors, and his intent to use the money raised for No Exit to be the seed money for an independent theatre company that could tackle, in his words, “gritty art, gritty theatre.”

A joint statement, credited to both Clovis Unified School District and the No Exit Team, yet reading very much as an institutional statement, said in part:

In the case of the Jean-Paul Sartre play No Exit, the show’s language; dark themes of hopelessness, hell and mutual torment/torture; conversations about the murder of an infant, being shot in the chest nine times and infidelity; and multiple sexual advances and requests made by the characters all add up to content that as a whole we do not believe is appropriate for a high school audience.

It would be expected that the school administration would have reviewed the show’s content and, long prior to opening night, asked the senior student to select a different show with more age-appropriate content. Unfortunately, the content was not fully known to the administration until the first production.   It was at that time that a determination was made that the show could not “go on” given the mature themes and content more appropriate for a college or community audience.  One indicator of the mature nature of No Exit’s content is the fact that the play only appears in our curriculum in the college-level Advanced Placement Senior English course. This is a course that requires parent notification of the reading lists and provides an opt out option should a parent want alternate content for their student.

In the past, we have had multiple productions that featured characters or storylines that included LGBT or Q characters. That alone would not be a reason for us to stop a show.

But while No Exit was silenced, it did not go unremarked upon. Writing in the Bee, Donald Munro said of No Exit:

It is a bleak, brilliant, existential torture-rack of a play that shakes you out of your daily stupor of denying mortality and makes you ponder life’s gaping and unconquerable questions.

Which makes it perfect for older high school students just itching to dive into murky philosophical waters.

But don’t worry. Clovis Unified is keeping us safe from a classic drama written in 1944.

The one other piece of news coverage appeared, somewhat inexplicably, in The New York Daily News, recapping much of what the Bee initially reported, but bringing the situation to ore national attention. Indeed, Serpa cited the national focus as part of the pressure surrounding the production that led him to abandon his plans for an off-campus production, ending what he had originally described as a four-year quest to stage No Exit. Consequently, after a single performance, No Exit was trapped in its own eternal existential hell, remembered only by those who managed to catch that first performance before the hammer came down.

*   *   *

Image from news report by ABC affiliate WNEP 16

While No Exit managed one performance, officials at Danville Area High School In Pennsylvania canceled Avenue Q shortly after the cast had been announced. The school superintendent Cheryl Latorre told the Daily Item, “It is the school version, but there is a lot of foul language in it and things that are so controversial. Not that that isn’t the real world. It’s just not the time for the program here. I just don’t think it’s something our little ones should attend.”

She went on to say, ““I just don’t feel it’s a fit for us at this time. We want a production to fill the auditorium.”

John Brady, the drama advisor who was to stage Avenue Q, quit his position as a result of the decision. The school’s other drama advisor will direct the replacement production. Reporting in the Daily Item indicates that Brady did receive approval for the show, which was withdrawn once school administrators subsequently read the script.

One student, commenting to the Daily Item, suggested that the school’s decision was a case of wanting to avoid controversy, as fundraising is in process for a new $12 million school auditorium. An editorial in the Daily Item, while acknowledging that the decision was being made later in the process than is advisable, sided with the school.

*   *   *

So what exactly might be found objectionable in these plays?

Before the joint statement was issued, Kelly Avants from Clovis Unified described No Exit, which is part of the school Advanced Placement curriculum, to TV station ABC 30 as follows:

“There’s language. There are themes of child murder. There are themes of people getting shot multiple times. There’s a great deal of sexual content from a number of different perspectives.”

Yes, No Exit has dark themes, but it is neither graphic nor salacious. Any play set in hell, and considering the implications of eternity there, must engage with the sins that sent people down. Yes, the school edition of Avenue Q is at times suggestive, but the show’s fully transgressive nature has been dialed back significantly. It retains just enough so that it remains a parody of Sesame Street rather than a replica of it for slightly older audiences.

The school edition of Avenue Q, has been almost entirely stripped of the “foul language” invoked by Danville superintendent Latorre. Of the words that remain, the only phrases which presumably might trouble educators are “gonorrhea,” “undescended testicle,” “sucks,” “skanky,” “ass” and “crappy.” Some songs are gone entirely – such as “You Can Be As Loud As the Hell You Want” and “My Girlfriend Who Lives in Canada” – while Trekkie Monster’s “The Internet is for Porn” has been recast as “My Social Life is Online.” Mrs. Thistletwat in now Mrs. Butz. The characters do consume alcohol and sleep together, but the latter is entirely offstage.

However, contrary to Latorre’s statement, Avenue Q is not the real world. The puppets should be a tip-off. It’s about how young people adjust to the real world. It’s about growing up. Also, by saying she wanted the production to fill the auditorium, was she making a judgment about how well a show would sell, as opposed to its value to the students? The motivations seem muddled.

*   *   *

In the school edition of Avenue Q, Rod remains a closeted gay puppet, and the terms “gay,” “queer” and “homosexual” remain part of the script. Certainly none of those latter terms should be considered as in any way offensive in this day and age, unless deployed somehow as epithets. In No Exit, one of the four characters is a lesbian, though that word doesn’t appear in the text (at least in 1946 Stuart Gilbert translation consulted for this article). In examining the fates of both the Clovis and Danville productions, it’s hard not to notice that both of these canceled shows contain gay characters – even though the statement from CUSD assured the public that “LGBT or Q” characters had been portrayed in the past on their stage. The Bear Stage No Exit included cross gender casting, with a female student in a role written as a man; that student self-identified as being part of the LGBTQ community.

Another similarity between the two cases is the rhetoric used for justifying the termination of the shows. In Danville, the superintendent said, “I just don’t think it’s something our little ones should attend.” In Clovis, the spokesperson gave the rationale that, “Being a K-12 institution, the expectation of our drama programs is that every production they do is to be age-appropriate content.”

In the latter case, the reasoning is obfuscation, since most public school districts cover both elementary and secondary education. But Buchanan High School is for grades 9-12, with students of an age where the school edition of Avenue Q is equivalent to network TV comedies and PG or PG-13 movies. It is not a frontier schoolhouse with a single classroom that teaches students of all ages.

The invocation of little ones and kindergartners reveals an all too common rationale: that high school theatre must be entirely family friendly, that it must remain benign and inoffensive in order to serve as a community relations, rather than an educational tool for the students participating. The idea that high school presentations should be acceptable for primary schoolers is infantilizing.

As it happens, it’s very likely that young children might miss the residual innuendo in the school edition of Avenue Q. They surely wouldn’t even understand the implications of No Exit, and indeed might be bored by it. But those shouldn’t be reasons for denying students in their mid-teens the opportunity to work on popular, current work (even in a tamed form) or intellectually rigorous pieces that they may well be studying in their classrooms if they are engaged and excited by them. That Clovis requires parental consent for advanced placement students to study No Exit is evidence of how risk averse schools have become. That same overcaution is demonstrated by the fact that the school board in Danville had to vote to approve of James and the Giant Peach.

There’s no question that the discipline, commitment, teamwork and talent required for theatre is at the core of every production, regardless of the content of the work. But walling off a vast amounts of the repertoire from high school theatre in order to avoid any thorny issues or marginally strong language, lest absolutely anyone object, serves to erase any intellectual rigor from the students’ experience, whether curricular or extracurricular.

In addition, making the choice of school plays subject to the approval of superintendents and school boards will likely serve to insure that only the safest, middle of the road shows can be done, denying drama teachers and their immediate supervisors the right to make decisions best suited for their students, who are certainly not children and may well flourish even more fully when facing a challenge. But that challenge should come from the material they are allowed to enact, not from arbiters who, under the guise of protecting students and appealing to the most people possible, deny student opportunity in order to protect themselves.

In some ways, it might make more sense if I wrote this post about some of my least-read pieces of 2016, because I value almost everything I write equally and never quite know why some get widely read and others just seem to be of only marginal interest to others. I of course prefer to blame social media and its vagaries, but in some cases it might be the photos I chose, the headline I drafted or the relative idiosyncrasy of the subject.

Because this year was the first during which I was writing for not one but two sites – my personal site and ArtsIntegrity.org, there are really two lists here, a top ten for the former and a top five for the latter. While I list each set by date published, rather than “popularity,” I am pleased to say that between the two sites, my total number of views this year was a 50% increase over last year. My concerns over cannibalizing my own readership proved unfounded.

You can access any posts you haven’t read, or wish to re-read, by clicking on the titles below. Thanks to everyone who read, shared, commented, liked or retweeted anything I had to say this year.

HESHERMAN.COM

January 25 Something Unpredictable With “American Idiot” in High School Theatre

This proved to be a two-part story, with a teacher claiming that the school had shut down his attempt to present the Green Day musical, which it had, only to ultimately find that the teacher had never secured the rights or any permission to make changes in the script that he had been trumpeting.

February 6 Is A Play of Plays Making Fair Use of Playwrights Words?

When a small performance in a Seattle bookstore, using only male dialogue from the ten most produced plays in the prior year, began to get cease and desist notices, I pondered the possibility that the collaged new script might fall under the fair use provisions of copyright law.

April 9 88 Years on 88 Keys: Tom Lehrer, The Salinger of the Satirical Song

The popularity of this post surprised me, but it also made me very happy. Apparently there’s so little written about the great Tom Lehrer that even my cursory overview proved to be catnip to his fans, and perhaps reached a few new converts as well.

July 8 Lin-Manuel Miranda: “Life’s A Gift, It’s Not To be Taken for Granted”

There’s no question about the appetite for all things Lin-Manuel and Hamilton, and traffic to this post came so fast that it shut down my site for a day and a half. He’s such a thoughtful guy, and what he had to say is so much more than simply fan service.

August 2 The Frightened Arrogance Behind “It’s Called Acting”

A challenge to those who push back against authenticity in casting when it comes to race and disability.

September 3 Wells Fargo To Arts Kids: Abandon Your Dreams

A foolish ad campaign caused no small amount of consternation in the arts community. But Well Fargo was in fact guilty of even more serious offenses in 2016.

September 8 When Deaf Voices Are Left Out Of “Tribes”

Another piece about authenticity in casting, about an Iowa production of Tribes that made no real effort to seek a deaf performer for the leading role.

October 13 In New Musical About Amputee, Faking Disability

In Canada, runner Terry Fox, a leg amputee, became a national hero before succumbing to cancer. So why on earth did a musical about him essential create a puppet leg, rather than find an actor who is an amputee?

November 9 A Post-Election Plea, To The Theatre and its Artists

When I began my commute the morning after the election, I had no intention to write anything, but over the course of one subway, this piece formed itself in my mind, and I wrote it in about an hour. I look at it now, and I don’t entirely recognize it as mine. It just poured out of me.

December 4 The Incredibly True Origins of Mike Hot-Pence, Times Square Icon

When I happened upon an activist using his looks to raise funds for progressive causes in Times Square, I caught lightning in a bottle, and over the course of the next two weeks, news of Mike Hot-Pence literally traveled around the world. This is the post, and the photo, that started it all.

ARTS INTEGRITY.ORG

March 9 A White Christmas (Eve) is Nothing to Celebrate on “Avenue Q”

The Character of Christmas Eve in the musical Avenue Q is specified as being from Japan. But while companies always manage to find a black actress for the role of Gary Coleman in the show, they seem to have no problem employing yellowface for Christmas Eve. This is but one example.

June 10 In Wake of Profiles Theatre Expose, A Few Points To Know

The Chicago Reader deserves enormous praise for their expose about a culture of harassment at the now defunct Profiles Theatre. Focus on the story was such that even my ancillary post, which primarily served to address the rights to their next planned production, proved of interest, and I kept updating as the situation played out to the end.

June 17 A Canadian High School Tries Too Hard to Get the Rights to “Hamilton”

A Canadian high school shouldn’t didn’t have the rights to give a performance that included six fully staged numbers from Hamilton, let along charge for it. But when they went after major media attention, and got it, their videos got shut down.

July 15 In A Maryland County, Taxing School Theatre In Pay To Play Plan

In Baltimore, a school board imposed a $100 per student fee to participate in school plays, even though the district doesn’t provide funding for the self-sustaining productions. I took an early look at the still evolving situation, and expect to return to it in 2017.

August 15 Quiara Alegría Hudes (and Lin-Manuel Miranda) on Casting “In The Heights”

In Chicago, a controversy over the casting of a non-Latinx actor as Usnavi in In The Heights. This post involves very little writing by me. It records for posterity a statement from bookwriter Quiara Alegría Hudes that was originally shared on Facebook by Victory Gardens Theatre artistic director Chay Yew, and because some questioned Lin-Manuel’s position, I confirmed that he was 100% with Quiara – not that I really had any doubts, but to silence those who did.

BONUS

Although it was published in early December of 2015, my conversation with Lin-Manuel Miranda about race in the casting of both In The Heights and Hamilton continued to be widely read in 2016, so much so that had it been new, it would have ranked in this year’s Top 10 from hesherman.com – just as it was last year. It may well be evergreen, though I hope to revisit the subject with Lin once again, most likely in early 2018, after the London opening of Hamilton.

Photo of Lin-Manuel Miranda © 2016 Howard Sherman

Avenue Q at Warsaw Federal Incline Theater (Photo by Jennifer Perrino)

“In America, where we have diverse populations, even if you’re in a community theatre, I think it’s better to not do the show rather than do it in yellowface or blackface.”

“The show” in question is Avenue Q, the 2004 Tony Award winning send-up of Sesame Street. The speaker is Robert Lopez, the co-conceiver, co-composer and co-lyricist (with Jeff Marx) of the musical; Lopez is also an award recipient for his work on Broadway’s The Book of Mormon and Disney’s film Frozen. Lopez was responding to questions provoked by a recent article in the Cincinnati Enquirer by David Lyman, a freelance writer covering arts and culture for the paper, entitled “Yellowface: The New Blackface?” Lyman’s article was instigated by the casting of the role of Japanese immigrant Christmas Eve in the Warsaw Federal Incline Theater production of Avenue Q, which closed this past weekend.

In the piece, Lyman wrote, “It probably shouldn’t have surprised me when I saw the Warsaw Federal Incline Theater’s production of Avenue Q and found the character of Christmas Eve – “I am Japanese,” she declares at one point – played by an actress who looked white. (More on this later.) Showbiz Players did the same thing when it produced the show in 2012.” Lyman went on to write, “While casting an ethnically appropriate Asian actor may be more difficult in Greater Cincinnati than in Seattle, it is not impossible.”

Lyman was prompted to examine Avenue Q due to a Facebook colloquy begun by Cincinnati actress Elizabeth Molloy on February 7, ten days before the production began its run. It began:

How is it 2016, and I still have to explain to people that yellowface is wrong?

I mean, everyone knows that blackface is a no-no, right? (RIGHT?!). So why is it so difficult to extend that same logic to other races? Do I really have to point out that yellowface is just as terrible, just as insulting, just as disrespectful, and just as mean as blackface?

In an interview, Lyman said he did not know Molloy well, but saw her remarks because mutual friends shared them on Facebook. Lyman said that as a freelancer, he does not review every show in the area. “This [Avenue Q] was one I probably was not going to see,” he notes, but as a result of Molloy’s post, “I thought, ‘Well OK, I need to change my plans and I did.” Lyman notes that he paid for his seat.

In his article, Lyman wrote:

So is it essential that an actor look Asian? Or is it enough that a person’s heritage somehow reflect an Asian heritage? [The actress] doesn’t look particularly Asian. But according to Rodger Pille, director of communications and development for Cincinnati Landmark Productions, the Incline’s parent organization, [the actress] said that her great-great-great-grandmother was Ma’ohi, from the island of Tahiti.

“Once we knew that she did have some of that descent, we felt we could move forward with the casting,” says Pille. “That was enough for us. We didn’t want to be the arbiter of what percentage Asian she was.”

He has a point. Theaters shouldn’t have to check genetic code before they allow a person to audition for a particular role. But they should be sensitive and use common sense.

Please note that the name of the actor has been omitted above, and will not figure in this article. The responsibility for the casting lies with the theatre and production’s director. The goal here is to explore the ramifications of the casting in Cincinnati, not to in any way shame a performer who had a chance for paid work in what is surely a limited range of opportunities in the city. Warsaw Federal Incline Theater is a professional non-Equity company, described by several people as the top non-Equity theatre in the area, with sufficient influence that several individuals contacted for this article declined to be interviewed out of concern for alienating the leadership of the company.

As Lyman’s article spread nationally, it reached Erin Quill, a staunch advocate for authenticity in racial casting and, as it happens, the original understudy for the role of Christmas Eve in the Broadway company of Avenue Q. She has written her own commentary about the situation on her blog, “The Fairy Princess Diaries,” but also responded to questions resulting from Lyman’s article via e-mail. She wrote:

CE [Christmas Eve] is an immigrant from Japan. First generation. There is an obligation to showcase the character in such a way that honors the writers’ intentions. CE is Japanese. It is in the script.

I think it is fair to say that in this particular case, with a reviewer being so distracted by concerns of ‘whitewashing’ while he viewed the show in Cincinnati that he felt he had to write extensively about it – I think the Creative/Production Team did not do their job. They may be good people, but good people make bad decisions all the time.

Actors don’t cast themselves. As Ann Harada tweeted me the other day ‘Sometimes people need time for learning’ – and this is really what it is –learning where the line is drawn for an audience to buy into the show. According to that review –this casting is problematic. I for one, am glad that diversity is being discussed in Cincinnati theater, I hope it continues.

Quill went on to write,:

I believe that as we are now 15 years (gulp) down the road- you can always find a person to play the role that would be appropriate. You cannot sell me on the idea that ‘no one came in’ – and if that IS the rare instance – make a phone call and see who is out there that is available.

Saying ‘we could not find any’ is laziness.

Ann Harada, referred to by Quill, originated the role of Christmas Eve, in workshop, Off-Broadway at The Vineyard Theatre and on Broadway. Regarding the Warsaw Federal Incline production she wrote via e-mail:

I do understand the limitations of casting certain roles, but then, why do the play? I have a hard time believing they’d use a White Othello instead of just not doing Othello. That being said, I always wish I’d seen the international productions of Q like in Denmark, God knows who played Christmas Eve and Gary [Coleman] in that one.

I’ve met a few white Christmas Eves in my time, mostly adorable young girls who played her in high school. Whatever. Which is why we can’t get upset at the actress who was cast, it’s not her fault. It’s interesting and a little hurtful that her heritage was deemed “exotic” enough to pass for Japanese but ultimately it is a decision we have to lay at the feet of the producers and creative team.

In response to whether the character of Christmas Eve, with her heavily accented English, could be perceived as a stereotype, Harada wrote:

I was concerned that the role would be viewed as a stereotype but I felt it was integral to the points made in the show that the character have an accent. I know several people who expressed their dismay to me about the accent and my response was ” you don’t get it”. If I felt Christmas Eve was a stereotypical character (submissive, shy lotus blossom, good at math, that sort of thing) it might be one thing but she was so obviously tough, smart, educated and aggressive that I felt she was a fully rounded person. People do have accents. It doesn’t make them less smart or interesting or valid than people who don’t have accents.

Except for a few specific lines, the script of Avenue Q does not write in an accent or dialect for Christmas Eve. While it does drop articles and reverse pluralization of words, lines like “Ev’lyone’s a ritter bit lacist” are the exception in the text, rather than the rule. That was very intentional, said Lopez, though he warned of overdoing it. Lopez, incidentally, describes himself as “half Filipino, half a medley of Irish, English, Canadian, Latvian and other stuff.”

“I think that’s the way the performer would prefer to read the script, so that’s how we presented it,” Lopez explained. “I think there’s a description that says she speaks with a heavy accent and that’s not something that we’re trying to micromanage exactly. It’s on a performer by performer basis. I’ve seen it done even by professionals and it’s made me uncomfortable and I always give a note about it. Because there’s a line – and it’s not just a racial sensitivity thing, it’s a comedy sensitivity thing. If you play something cheap, if you play it for cheap laughs, instead of playing the truth behind it, it will always be offensive. Bad comedy always offends me in all forms. Avenue Q has that pitfall because it’s puppets. In many ways it’s cartoony, but on the other hand it’s also real, it’s also about real life. Unless the actors play the truth of the characters, the show is just a shadow of itself.”

It’s worth noting that among its various transgressive elements, which includes a gender switch in casting which calls for a actress to play the role of Gary Coleman, early workshop iterations, including its five performances at the O’Neill Theater Center in Connecticut, saw a white actress in that role. Lopez said that the original intent was meant to be merely another example of the show’s irreverence. He credits the show’s commercial producers with prompting Lopez, Whitty, Marx and director Jason Moore to cast a black actress when the show moved to full production. Lopez said he would not support a return to the casting of a white actress in that role. [In full disclosure, at the time of the 2002 workshop, I was executive director of The O’Neill Center, and while I found the casting choice very strange when I learned of it, I did not make any objection to it. In the same situation today, I would let my voice be heard speaking against the choice.]

This past Sunday, during a Democratic presidential debate, CNN moderator Don Lemon cited the Avenue Q song “Everyone’s A Little Bit Racist,” which indicated that 13 years after its Broadway debut, the show’s messages remain current.

“Sometimes I wondered about that song and sometimes I think that people don’t get the spirit in which it’s meant,” said Lopez. “It’s certainly not intended for us to relax our standards as far as the way we treat other people. The only way we can move forward is if we acknowledge where we are. So the song in that sense is relevant.”

In the wake of his article about the Warsaw Federal Incline production, David Lyman said that while he was surprised to see few responses in the article’s comments section, he had gotten “dozens of communications” in its wake via e-mail and on social media.

Describing the response as “uniformly supportive,” Lyman characterized the messages as saying, “I’m glad you brought this up. It’s about time somebody wrote something like this. I’m impressed. I’m proud of the paper for doing that.” He contrasted this with the responses he received several years ago when he called out a University of Cincinnati College-Conservatory of Music production for using the original script of the musical Peter Pan, complete with archaic representations of Native Americans and still featuring the song “Ugg-a-Wugg.” He said that in his review, he expressed the opinion, “’Well shame on them. They shouldn’t be doing that. This is the wrong century for that.’ That did not go down well. I got a fair amount of negative feedback on that one.”

Lyman also noted that he had not heard anything from the Warsaw Federal Incline Theatre itself since his article came out. For this article, multiple attempts were made, via phone and e-mail, to contact executive and artistic director Tim Perrino as well as communications/development director Rodger Pille, of Cincinnati Landmark Productions, the parent organization behind Warsaw Federal Incline. Neither responded to any of the inquiries. That gives Lopez, Harada, Quill, Lyman and even Elizabeth Molloy, who began the conversation, the final words on the subject, namely that when casting roles where race is specified, the roles should be filled by actors of that race.

But Lopez, in considering the subject of the show’s continued relevance, struck a conciliatory note while making clear what the lessons should be from and for Cincinnati, as well as any future productions of Avenue Q.

“I think that the dialogue has widened,” observed Lopez. “I think people are more comfortable sharing their opinions. I think as the conversation widens to include to everybody’s point of view, we all benefit from learning what offends people and learning what in fact their point of view is. I think we all learn from that, but unless we all talk about it, you don’t learn. In some ways, unless you cast a white Christmas Eve, you don’t learn that that’s wrong, you don’t learn that that’s not OK with people.”

Even though Avenue Q is closed, David Lyman notes that the issue of authenticity in racial casting retains great currency, not only in Cincinnati, but at this particular theatre. “Warsaw Federal incline Theatre is doing Anything Goes in June,” notes Lyman. “What are we going to see there? We’ve got these two Chinese guys. Are they going to make any effort to find Asians? I don’t know. We’re going to find out.”

Howard Sherman is interim director of the Alliance for Inclusion in the Arts and director of the Arts Integrity Initiative at The New School College of Performing Arts.

“In America, where we have diverse populations, even if you’re in a community theatre, I think it’s better to not do the show rather than do it in yellowface or blackface.”

“The show” in question is Avenue Q, the 2004 Tony Award winning send-up of Sesame Street. The speaker is Robert Lopez, the co-conceiver, co-composer and co-lyricist (with Jeff Marx) of the musical; Lopez is also an award recipient for his work on Broadway’s The Book of Mormon and Disney’s film Frozen. Lopez was responding to questions provoked by a recent article in the Cincinnati Enquirer by David Lyman, a freelance writer covering arts and culture for the paper, entitled “Yellowface: The New Blackface?” Lyman’s article was instigated by the casting of the role of Japanese immigrant Christmas Eve in the Warsaw Federal Incline Theater production of Avenue Q, which closed this past weekend.

In the piece, Lyman wrote, “It probably shouldn’t have surprised me when I saw the Warsaw Federal Incline Theater’s production of Avenue Q and found the character of Christmas Eve – “I am Japanese,” she declares at one point – played by an actress who looked white. (More on this later.) Showbiz Players did the same thing when it produced the show in 2012.” Lyman went on to write, “While casting an ethnically appropriate Asian actor may be more difficult in Greater Cincinnati than in Seattle, it is not impossible.”

Lyman was prompted to examine Avenue Q due to a Facebook colloquy begun by Cincinnati actress Elizabeth Molloy on February 7, ten days before the production began its run. It began:

How is it 2016, and I still have to explain to people that yellowface is wrong?

I mean, everyone knows that blackface is a no-no, right? (RIGHT?!). So why is it so difficult to extend that same logic to other races? Do I really have to point out that yellowface is just as terrible, just as insulting, just as disrespectful, and just as mean as blackface?

In an interview, Lyman said he did not know Molloy well, but saw her remarks because mutual friends shared them on Facebook. Lyman said that as a freelancer, he does not review every show in the area. “This [Avenue Q] was one I probably was not going to see,” he notes, but as a result of Molloy’s post, “I thought, ‘Well OK, I need to change my plans and I did.” Lyman notes that he paid for his seat.

In his article, Lyman wrote:

So is it essential that an actor look Asian? Or is it enough that a person’s heritage somehow reflect an Asian heritage? [The actress] doesn’t look particularly Asian. But according to Rodger Pille, director of communications and development for Cincinnati Landmark Productions, the Incline’s parent organization, [the actress] said that her great-great-great-grandmother was Ma’ohi, from the island of Tahiti.

“Once we knew that she did have some of that descent, we felt we could move forward with the casting,” says Pille. “That was enough for us. We didn’t want to be the arbiter of what percentage Asian she was.”

He has a point. Theaters shouldn’t have to check genetic code before they allow a person to audition for a particular role. But they should be sensitive and use common sense.

Please note that the name of the actor has been omitted above, and will not figure in this article. The responsibility for the casting lies with the theatre and production’s director. The goal here is to explore the ramifications of the casting in Cincinnati, not to in any way shame a performer who had a chance for paid work in what is surely a limited range of opportunities in the city. Warsaw Federal Incline Theater is a professional non-Equity company, described by several people as the top non-Equity theatre in the area, with sufficient influence that several individuals contacted for this article declined to be interviewed out of concern for alienating the leadership of the company.

As Lyman’s article spread nationally, it reached Erin Quill, a staunch advocate for authenticity in racial casting and, as it happens, the original understudy for the role of Christmas Eve in the Broadway company of Avenue Q. She has written her own commentary about the situation on her blog, “The Fairy Princess Diaries,” but also responded to questions resulting from Lyman’s article via e-mail. She wrote:

CE [Christmas Eve] is an immigrant from Japan. First generation. There is an obligation to showcase the character in such a way that honors the writers’ intentions. CE is Japanese. It is in the script.

I think it is fair to say that in this particular case, with a reviewer being so distracted by concerns of ‘whitewashing’ while he viewed the show in Cincinnati that he felt he had to write extensively about it – I think the Creative/Production Team did not do their job. They may be good people, but good people make bad decisions all the time.

Actors don’t cast themselves. As Ann Harada tweeted me the other day ‘Sometimes people need time for learning’ – and this is really what it is –learning where the line is drawn for an audience to buy into the show. According to that review –this casting is problematic. I for one, am glad that diversity is being discussed in Cincinnati theater, I hope it continues.

Quill went on to write,:

I believe that as we are now 15 years (gulp) down the road- you can always find a person to play the role that would be appropriate. You cannot sell me on the idea that ‘no one came in’ – and if that IS the rare instance – make a phone call and see who is out there that is available.

Saying ‘we could not find any’ is laziness.

Ann Harada, referred to by Quill, originated the role of Christmas Eve, in workshop, Off-Broadway at The Vineyard Theatre and on Broadway. Regarding the Warsaw Federal Incline production she wrote via e-mail:

I do understand the limitations of casting certain roles, but then, why do the play? I have a hard time believing they’d use a White Othello instead of just not doing Othello. That being said, I always wish I’d seen the international productions of Q like in Denmark, God knows who played Christmas Eve and Gary [Coleman] in that one.

I’ve met a few white Christmas Eves in my time, mostly adorable young girls who played her in high school. Whatever. Which is why we can’t get upset at the actress who was cast, it’s not her fault. It’s interesting and a little hurtful that her heritage was deemed “exotic” enough to pass for Japanese but ultimately it is a decision we have to lay at the feet of the producers and creative team.

In response to whether the character of Christmas Eve, with her heavily accented English, could be perceived as a stereotype, Harada wrote:

I was concerned that the role would be viewed as a stereotype but I felt it was integral to the points made in the show that the character have an accent. I know several people who expressed their dismay to me about the accent and my response was ” you don’t get it”. If I felt Christmas Eve was a stereotypical character (submissive, shy lotus blossom, good at math, that sort of thing) it might be one thing but she was so obviously tough, smart, educated and aggressive that I felt she was a fully rounded person. People do have accents. It doesn’t make them less smart or interesting or valid than people who don’t have accents.

Except for a few specific lines, the script of Avenue Q does not write in an accent or dialect for Christmas Eve. While it does drop articles and reverse pluralization of words, lines like “Ev’lyone’s a ritter bit lacist” are the exception in the text, rather than the rule. That was very intentional, said Lopez, though he warned of overdoing it. Lopez, incidentally, describes himself as “half Filipino, half a medley of Irish, English, Canadian, Latvian and other stuff.”

“I think that’s the way the performer would prefer to read the script, so that’s how we presented it,” Lopez explained. “I think there’s a description that says she speaks with a heavy accent and that’s not something that we’re trying to micromanage exactly. It’s on a performer by performer basis. I’ve seen it done even by professionals and it’s made me uncomfortable and I always give a note about it. Because there’s a line – and it’s not just a racial sensitivity thing, it’s a comedy sensitivity thing. If you play something cheap, if you play it for cheap laughs, instead of playing the truth behind it, it will always be offensive. Bad comedy always offends me in all forms. Avenue Q has that pitfall because it’s puppets. In many ways it’s cartoony, but on the other hand it’s also real, it’s also about real life. Unless the actors play the truth of the characters, the show is just a shadow of itself.”

It’s worth noting that among its various transgressive elements, which includes a gender switch in casting which calls for a actress to play the role of Gary Coleman, early workshop iterations, including its five performances at the O’Neill Theater Center in Connecticut, saw a white actress in that role. Lopez said that the original intent was meant to be merely another example of the show’s irreverence. He credits the show’s commercial producers with prompting Lopez, Whitty, Marx and director Jason Moore to cast a black actress when the show moved to full production. Lopez said he would not support a return to the casting of a white actress in that role. [In full disclosure, at the time of the 2002 workshop, I was executive director of The O’Neill Center, and while I found the casting choice very strange when I learned of it, I did not make any objection to it. In the same situation today, I would let my voice be heard speaking against the choice.]

This past Sunday, during a Democratic presidential debate, CNN moderator Don Lemon cited the Avenue Q song “Everyone’s A Little Bit Racist,” which indicated that 13 years after its Broadway debut, the show’s messages remain current.

“Sometimes I wondered about that song and sometimes I think that people don’t get the spirit in which it’s meant,” said Lopez. “It’s certainly not intended for us to relax our standards as far as the way we treat other people. The only way we can move forward is if we acknowledge where we are. So the song in that sense is relevant.”

In the wake of his article about the Warsaw Federal Incline production, David Lyman said that while he was surprised to see few responses in the article’s comments section, he had gotten “dozens of communications” in its wake via e-mail and on social media.

Describing the response as “uniformly supportive,” Lyman characterized the messages as saying, “I’m glad you brought this up. It’s about time somebody wrote something like this. I’m impressed. I’m proud of the paper for doing that.” He contrasted this with the responses he received several years ago when he called out a University of Cincinnati College-Conservatory of Music production for using the original script of the musical Peter Pan, complete with archaic representations of Native Americans and still featuring the song “Ugg-a-Wugg.” He said that in his review, he expressed the opinion, “’Well shame on them. They shouldn’t be doing that. This is the wrong century for that.’ That did not go down well. I got a fair amount of negative feedback on that one.”

Lyman also noted that he had not heard anything from the Warsaw Federal Incline Theatre itself since his article came out. For this article, multiple attempts were made, via phone and e-mail, to contact executive and artistic director Tim Perrino as well as communications/development director Rodger Pille, of Cincinnati Landmark Productions, the parent organization behind Warsaw Federal Incline. Neither responded to any of the inquiries. That gives Lopez, Harada, Quill, Lyman and even Elizabeth Molloy, who began the conversation, the final words on the subject, namely that when casting roles where race is specified, the roles should be filled by actors of that race.

But Lopez, in considering the subject of the show’s continued relevance, struck a conciliatory note while making clear what the lessons should be from and for Cincinnati, as well as any future productions of Avenue Q.

“I think that the dialogue has widened,” observed Lopez. “I think people are more comfortable sharing their opinions. I think as the conversation widens to include to everybody’s point of view, we all benefit from learning what offends people and learning what in fact their point of view is. I think we all learn from that, but unless we all talk about it, you don’t learn. In some ways, unless you cast a white Christmas Eve, you don’t learn that that’s wrong, you don’t learn that that’s not OK with people.”

Even though Avenue Q is closed, David Lyman notes that the issue of authenticity in racial casting retains great currency, not only in Cincinnati, but at this particular theatre. “Warsaw Federal incline Theatre is doing Anything Goes in June,” notes Lyman. “What are we going to see there? We’ve got these two Chinese guys. Are they going to make any effort to find Asians? I don’t know. We’re going to find out.”

Howard Sherman is interim director of the Alliance for Inclusion in the Arts and director of the Arts Integrity Initiative at The New School College of Performing Arts.

Penn & Teller (photo by Joan Marcus)

For the week ending July 19, almost at summer’s halfway point, there were 29 shows on Broadway, meaning 11 theatres were dark. To be sure, some of those only became vacant a few weeks ago. Owners of empty theatres may be taking this downtime for some necessary repair and deep cleaning, impossible while a show is running. There are marquees in and around Times Square already advertising their next tenants.

That said, it always seems a bit counterintuitive that more than a quarter of the 40 Broadway theatres are usually dark during the summer, when New York is flooded with tourists. It seems an unfortunate time for a cyclical contraction (often matched in January and early February).

Illusionists Penn and Teller have a short-term run at the Marquis Theatre, their first New York gig in 15 years. While they’ve been in residence in Las Vegas and making television shows, they’ve clearly built up great interest, because this two-man (and one female assistant) show is doing very solid business, grossing more than $1.2 million in the week examined, even at 80% houses at the Marquis Theatre.

The Marquis was also home to another short-term booking in late 2014, when The Illusionists did comparably well, including a week over the New Year holiday when the gross leapt up to $2.2 million. Magic? I think not. They’ll be back in November.

While I don’t want to see Broadway houses turned into Vegas showcases and concert halls as a rule, these shows’ success suggests that during gaps in Broadway theatre schedules it could be very lucrative to bring in shows and acts that are touring, or small enough to be mounted for genuinely limited runs, akin to An Act of God, which has just ended at Studio 54.

You might remember Judy Garland’s last stands at the Palace in the 1960s, or Lena Horne’s triumph at the Nederlander in the 1980s – Broadway costs have made this type of event much rarer now. Yet, just as American television has revived the idea of summer replacement series, instead of leaving new programming to cable, perhaps it’s time to revisit summer entertainments on Broadway and Off-Broadway. I see some regional theatres using this tactic, since the real estate (an ugly way to describe our beloved theatres, I know) is otherwise just sitting there, not making money for anyone.

Many Broadway musical performers have acts they perform around the country with symphonies. But maybe during the summer, a few of those concerts could take up residence here in New York, both to capitalize on the tourist trade and give us locals a chance to savor more from our greatest talents, in the venues where they made their names.

Or maybe, just maybe, people will buck the conventional wisdom, as the musical Hamilton is, and open full shows in the summer, instead of during the October to April season. After all, it worked out pretty well for A Chorus Line, Avenue Q and Hairspray.

This column originally appeared in The Stage newspaper.

During the 2012/13 Broadway season, a total of nine new musicals appeared on Broadway (hitting the average annual level of recent years). Of those nine, only four are still running. As I write, there are seven new musicals playing Off-Broadway, with an eighth due in a few weeks; there may well be others. What does it tell us when 12 months of Broadway yields just about as much new musical material as we find Off-Broadway in only a couple of months?

To be fair, many of the Off-Broadway musicals are limited runs in the seasons of subsidised companies, and two are commercial transfers from such companies from earlier this year. Only one will play in a theatre which is comparable in size to Broadway venues, and in that case it’s under the auspices of Shakespeare in the Park; most are in spaces where one week of performances equals the capacity of one Broadway performance. A transferred Off-Broadway hit can easily become a Broadway casualty given the commercial demands of larger theatres and higher costs.

Certainly, hit Off-Broadway musicals are hardly new; one need only look to The Fantasticks, You’re A Good Man, Charlie Brown, Godspell and Little Shop of Horrors for precursors, and it’s unlikely the current new shows will ever attain the longevity of those icons. But in recent years, the standard model has tended much more towards the Off-Broadway to Broadway transfer for success, as evidenced by shows ranging from Rent to Avenue Q to The 25th Annual Putnam County Spelling Bee. Even shows that began in rudimentary stagings at the New York International Fringe Festival and the New York Musical Theatre Festival have fought their way to Broadway, including Urinetown and Next to Normal.

Surveying the variety of material, it would appear that the modest scale of Off-Broadway allows for a greater range of topics and styles than the Great White Way, from the sung through pop opera of Dave Malloy’s Natasha, Pierre and the Great Comet of 1812 (based on a portion of War and Peace, and performed in a tent) to David Byrne and Fatboy Slim’s Imelda Marcos disco bio Here Lies Love. There’s one musical that is drawn from a film (Far From Heaven) and two with their roots in Shakespeare (Venice, after Othello, and Love’s Labour’s Lost). Several adopt variations on an environmental, break-the-proscenium approach (Here Lies Love, Murder Ballad and Great Comet). None model themselves on the formula of the classic American musical.

I suspect that no one is getting rich off of these productions, while the backers of Kinky Boots, Matilda and Motown on Broadway will surely do quite well over time. For these Off- Broadway musicals to become true earners for all involved, they will either have to manage sustained runs under a commercial model, on Broadway or Off, or spawn productions across the country and abroad. But even if that doesn’t come to pass, what they are doing is providing a superb showcase for predominantly new talent and unexpected subjects; they are bolstering the musical repertory at a pace at least equal to Broadway and building the reputations of artists.

This shouldn’t suggest that musical success Off-Broadway is a breeze, and it’s worth noting that many of these shows are only mounted with significant donor underwriting or “enhancement” from producers who hope the property will turn out to be Broadway-worthy. But with different scale and different expectations, Off-Broadway musicals may well be supplanting Broadway in advancing the form.

Hindsight doesn’t benefit anyone, but it is hard to resist wondering whether the short-lived Hands on a Hardbody might have fared better at director Neil Pepe’s Atlantic Theatre Company instead of in a Broadway theatre. Ironically, that was the birthplace of Spring Awakening, a musical that had struggled through a number of developmental productions over the years only to find praise, first Off- Broadway, then on.

There’s an old saying that one can’t make a living on Broadway, but can make a killing. It’s not easy to make a living off of Off-Broadway musicals either, but you can build a career.