by Gwendolyn Walker
Assistant Professor of Voice for Musical Theatre
The Day Theatre Stopped
On March 12, 2020, the Broadway League made the unprecedented announcement that Broadway shows would shutter their doors for a month. One month turned into three, then six. Currently, Broadway will stay closed until at least May 30, 2021, and most officials believe it will be even longer.
On May 25, George Floyd, a 46-year-old Black man, was killed in Minneapolis, Minnesota by police officers while in their custody after a store clerk alleged that Floyd had passed a counterfeit $20 bill. The murder was videotaped and went viral. Soon, U.S. citizens and people around the world had watched Floyd die while pleading with the arresting officers that he could not breathe. This produced an immediate and enormous social justice movement in the United States and around the world.
These are stressful times. One way that I handle stress is to think proactively. The whole theatre world in this country is currently paused. This pause gives us an opportunity to plan for what sort of theatrical world we hope to return to when theatres once again open their doors. What of the pre-Covid “normal” is worth keeping and what is worth changing, for example?
As much as I love American musical theatre, considerable change must occur for it to be an art form for all people.
Musical theatre is currently dominated by white, heteronormative, neurotypical stories, whereas BIPOC, queer, and neurodiverse stories are the extreme exception. Too often, we tell stories that require artists to conform to a default and distorted vision of “normal.” The consequence is an industry that is fundamentally patriarchal, misogynistic, heteronormative, neurotypical, and racist. By not addressing this distortion, we perpetuate the idea that straight, white, cis-gendered, neurotypical cultural identities are—and should be—the default, and in doing so we continue the suppression of all other people.
Dr. Ibram X. Kendi
A few weeks ago, as part of my work on Penn State’s College of Arts and Architecture’s Equity, Diversity, and Inclusion Committee, I co-hosted a pre-talk discussion about the work of Dr. Ibram X. Kendi, an antiracist activist, scholar, and author of the book, How to Be an Antiracist. Kendi was interviewed in a live, virtual event for Penn State, and to prepare for our discussion, I read his books and watched every interview and speech of his that I could find. I was shook. His ideas are daring, and he made me think about racism, my activism, and theatre in a new and hopeful way. Additionally, in his book, he extends his ideas of racism to include gender-racism and queer-racism, which I found empowering.
According to Dr. Kendi, “racist” is such a pejorative word that most people equate it with being a bad person. Because most people consider themselves to be good people, they also consider themselves to be “not racist.” The problem is that “not racist” isn’t something you do, it is something you say—a moniker you hang on yourself or a passive comment. Typically, we say it in response to someone calling us out for being racist in the first place. “I’m not a racist!” we reply.
But to be truly “not racist”, Dr. Kendi suggests we must be active: we must be antiracist. When you label yourself ‘not racist’ there is no action implied there. Nothing to do. Additionally, Kendi says we must recognize that the same person can be racist one moment and antiracist the next because being antiracist is something that we DO, not someone who we ARE. For example, a person might agree with a racist political policy in one moment, and an antiracist environmental policy in the next – so in juxtaposing moments, that person could be described as racist and antiracist.
Further, Dr. Kendi challenges the idea that ignorant and hateful people propagate and are responsible for racism. Kendi shows how people in power, acting in their own self-interest, often create racist policies that make these powerful people more powerful, but the original intent is not to be racist – it’s self-interest. These racist policies, in turn, govern the majority of people and so these racist policies eventually lead to racist ideas to justify them. Those racist ideas eventually lead to ignorance and hate, but the ignorance and hate were not why the racist policy was created in the first place: self-interest is the culprit.
“One either believes problems are rooted in groups of people, as a racist, or locates the roots of problems in power and policies, as an antiracist.” – Ibram X. Kendi
In other words,
Applying Kendi’s Theory to Theatre
Understanding this chain of causation helps us understand why racist, misogynistic, heteronormative, neurotypical theatre perpetuates itself. Applying Dr. Kendi’s idea to the theatrical industry, powerful people, acting in their own self-interest, believe they will make more money by not challenging theatre-goer’s ideas. If straight, white, male, cis-gendered theatre constitutes “normal” by default, powerful people will continue to create theatre that conforms to that idea because doing so will make them more money. The result is that theatre goers routinely ingest straight, white, male, cis-gendered theatre, further reinforcing and confirming whatever racist cultural ideas they may have. These racist ideas are then put into practice as daily thoughts, actions, and belief systems, and those ideas lead to exclusion, ignorance, and hate.
In other words,
I am explicitly saying that when we create racist, misogynistic, neurotypical, and heteronormative theatre, we are creating theatre that perpetuates exclusion, ignorance, and hate.
The time is long overdue that we, as an industry, actively fight against that. It is not enough to say that we don’t do these things. We must passionately and actively do the opposite.
People instinctively turn to artists following catastrophic events. People are buying books again! They are binge-watching shows on Netflix and buying music streaming services. All of this content is created by artists, and we are more powerful now than ever. We shape consciences with the art we choose to make, and we must be conscious about the message contained in the art that we choose.
The shutdown combined with the biggest antiracist movement in our country in 70 years offers us a unique opportunity to create an enormous, positive change in the way we create theatre; to challenge ourselves to be radically inclusive and equitable. I would go even further and say that this is our responsibility. We must help lead the world out of this humanitarian crisis.
How can we do that? What ACTIONS can we take? Here are a few ideas:
- Give money to BIPOC, LGBTQIA+, neurodiverse, and female-identifying writers, lyricists, playwrights, theatre companies, theatre creatives, and activist organizations. Money is power and it takes power to create change. If you can’t give money; give opportunities. If you can’t give opportunities; give your time.
- Get on the board for a theatre company and make your voice heard. Run for office in one of the theatre unions with the specific goal to create antiracist policy change. When you are on the board, you help create policy, and policy is power.
- Hire non-white and neurodiverse theatre makers, women, and transgender artists for your team and listen to them.
- Eliminate tokenism. Diverse people need opportunities to portray fully realized characters rather than harmful, racist stereotypes.
- Theatre creators can ask themselves if the roles they are creating and casting need to be played by a specific gender, physical ability, or skin color, and if not, to leave the character description open. For example, instead of a character breakdown that reads, “Strong leading man, baritone to A4,” it could instead read, “Strong, grounded character with a good sense of humor about themselves who’s been kicked around by life but still believes in love.”
- Participate in antiracist theatre groups and encourage colleagues to do the same. The Asian-American Performers’ Action Coalition and the African-American Artists’ Alliance are a couple of great ones.
- Create an antiracist theatre action committee at your institution or if you can, create a position for a person who is the director of diversity, equity, and inclusion. Invite them to be part of your casting and season selection processes.
- Read antiracist literature and follow antiracist activists on social media.
What actions can you think of that we can take as a community? What changes can you make to become more antiracist? How can we overcome the obvious obstacles? For example, to produce more antiracist theatre that is successful, we will need people willing to see theatre that is different. That will not be easy. I recognize that this idea is fraught with seemingly insurmountable problems.
But I believe we can do it. I believe that we are capable of bringing about an equitable, diverse, and inclusive new normal where the theatre that we make represents our entire community. Will it be perfect? No. Will it be easy? No. Will we correct all the harm that has been perpetrated against our beautiful and diverse community? No. But we must try. This unique moment in time makes this a perfect time to begin to be the change we want to see in the world. I believe, like Dr. Kendi, that change is possible. I believe in the power of theatre-makers to change hearts and minds. I believe in my community. I believe that there are so many reasons to hope.
*Original Graphic idea from Toby Sinclari’s “Book Summary: How To Be an Antiracist by Ibram X. Kendi – The 3 Big Ideas.” 21 June 2020.
Gwendolyn Walker is an Assistant Professor of Voice and Alexander Technique at Penn State’s BFA Musical Theatre program. She is certified by the Contemporary Alexander School and she maintains a busy New York City studio. Her students can be seen in most shows on Broadway today.
This research has been graciously funded by the Arts and Design Research Incubator (ADRI) at The Pennsylvania State University and is a collaborative effort between Dr. Michael Evans, Assistant Dean for Nursing Education at the Commonwealth Campuses, and Dr. Bill Doan, Professor and Director of the ADRI, along with funded graduate research assistants, Kiernan Riley and Kalei Kowalchick, BSN-PhD Students, and funded undergraduate research assistant, Logan Desanto, Junior Honor’s Nursing Student at the Scranton Campus.
