As for the statement "90% of the Broadway audience is white": You are right - it is! But it's because it was structured to be that way from the early beginnings of theatre history. But more accurately, theatre was designed to be the exclusive domain of white men; this was evident in Greek theatre, Renaissance theatre, and so on. American theatre was a white privilege in the 19th century and 20th century. It alienated an entire population of American minorities for decades - this greatly shaped the 90% white audience that we see today. That number does not exist because whites are genetically predisposed to enjoying theatre, but because it was molded through decades and decades of xenophobia and America's overall troubled history of race. Do some research and see how many POC were students at performing arts university programs in the 60, 70s, and 80s - that number would be quite small in comparison to the percentage of white students that were enrolled in them.
It's now, in 2015, that Broadway theatre is now greatly diversifying. If shows such as Hamilton, In the Heights, and Allegiance continue to written and produced, I can almost guarantee that the number of white audience members will decrease and the audience will diversify, and that is such a great thing.
Every so often there was a rare moment of perfect balance when I soared above him.
