I guess some of you already know this, but Warren Carlyle has choreographed a Jerry Herman musical before; it was the 2006 Kennedy Center production of Mame of which some press footage has been recently released.
Seeing the footage makes me hopeful of the things Carlyle will do with Hello, Dolly. Sure I was disappointed with what he did with Follies and Chaplin but he was the one who did the wonderful choreography for Finian's Rainbow, After Midnight, She Loves Me and others that it's making me both excited and nervous at the same time.
My alma mater did a production of Dolly a few years after I graduated and their Minnie was Asian. Not quite in the same ballpark as a major revival, of course...hah...
Some of that may be Jerry Herman's prerogative, not necessarily that of the creative team for the revival. As for Beanie Feldstein, she's certainly different casting for that role. She's more zaftig than the actress they've cast as Ernestina Money.
“I knew who I was this morning, but I've changed a few times since then.”
Intentionally or not, casting only white actors was a choice made by the creative team. And as fans of the theatre, we have every right to take notice of those choices and to discuss them. You can pitch a fit and call it "color counting" all you want, but nobody is colorblind. We all have bias whether or not you're willing to acknowledge it.
And in my opinion, that aforementioned choice can be interpreted as the creative team indicating that this is being put onstage primarily for a white audience. If their vision for their production was intended to have a more universal reach, they would have cast it that way. At best, it's institutional racism. At its worst, it could be a matter of white supremacy.
It matters because this is a story in which race is not integral to the plot.
I've been reading the posts and while I'm reading, on comes "Where Is The Love" (Black Eyed Peas)...True words of wisdom. (Maybe the election is getting to me).
I've seen Bette Midler in concerts and shows and the cast and ensemble are always "rainbow colored". Maybe just maybe, some people of color auditioned and didn't get the part. I just think it's a little premature to judge the production this harshly. Bette is a tough cookie, she is the best, she wants the best. I think we can all respect that...but not being inclusive in casting or any other parts of the production is not and should not be an issue.
Forgive me if I'm wrong, but I'd say that black performers in NYC are quite possibly enjoying a rather golden period with shows like TheLion King, Color Purple, Hamilton etc..
brian1973 said: "Forgive me if I'm wrong, but I'd say that black performers in NYC are quite possibly enjoying a rather golden period with shows like TheLion King, Color Purple, Hamilton etc.. "
How long do you think it'd take you to list the number of productions that have featured predominantly white casts in the last decade?
I'm guessing since this is the full cast announcement, there is officially no alternate. Though I would have to imagine they'll still have a standby for Midler?
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
And in my opinion, that aforementioned choice can be interpreted as the creative team indicating that this is being put onstage primarily for a white audience. If their vision for their production was intended to have a more universal reach, they would have cast it that way. At best, it's institutional racism. At its worst, it could be a matter of white supremacy.
So, by your logic, Hamilton, The Color Purple, and The Lion King were intended for a non-white audience? Or maybe they were intended for people who were just looking for a good musical.
hork said: "So, by your logic, Hamilton, The Color Purple, and The Lion King were intended for a non-white audience? Or maybe they were intended for people who were just looking for a good musical."
I suppose my logic wouldn't make sense to the passive theatergoers you're describing. Otherwise, that is what I meant. In an ideal world, they should be created primarily with a non-white audience in mind to avoid pandering to the stereotypes and prejudices held by the majority.
Yup, this casting is sad. In our current world non-white actors have to work much harder than white actors to land a role. In my opinion, it is the job of the people with power (producers, casting directors, the creative team), who are predominantly white, to take permanent steps to ensure color blind casting occurs. Often people mistake complaints about all white casting as "color counting" - but in our current climate it is frankly laughable to just expect the people in power to naturally color blind cast.
White casts and actors have been so dominant in the past, so I'm not expecting those people to naturally color blind cast. I'm just expecting them to make more, bigger strides in not casting all white casts, so the cycle doesn't get repeated again and again. It's sad to see that after such a banner season of diversity and inclusivity, the creative team of Hello Dolly decided to take a step backwards.
And, brian1973, it may be a 'golden age' now for black actors, but that won't last for long. Those are standalone shows, and shouldn't be held up as an excuse to not color blind cast.
Let's not forget other underrepresented groups like Asian Actors or actors with disabilities.