How about a black version of FOLLIES?

Sure why not?

I wouldn't change any of the dialogue, perform the piece as is.

I was thinking yesterday about the whole issue of the theater being, all the way back to Ancient Greece, a white, patriarchal institution, and how we in the industry are working to reinvent the art form to include the voices of everyone and make it accessible (and desirable) to everyone. Although I believe rethinking the classics and using color conscious casting is great, if we are going to truly move forward, we need to also focus on new works with characters of a wide range of ethnicities. Having, say, black actors playing roles that were obviously written for white actors in a show like Follies may give those actors opportunities, and bring a more diverse audience to that particular production, but it will not really fulfill our long-term goal.

The reworking of Shuffle Along a couple years ago I guess was kind of "the black version of Follies," but Broadway is becoming less and less hospital to those kinds of works, which is why the future of theatre really is in Off-Broadway and regional theatre.

^This!

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Updated On: 7/1/18 at 07:38 PM

Deliberately casting shows on 1 color is the core of the problem and does not fit society anymore. That is not progress. Hopefully soon these left wing race counters understand that, so we can move along to a better, equal world.

I grew up in a very 'white Australia' era, never coming in contact with an Aborigine and all performers seemed to be white. There was a very well known Indian male singer, a black American in Camelot ,then there was The Wiz and in the production of Porgy and Bess they were all from New Zealand[and it was sensational].

It's all a matter of conditioning and acceptance to my little brain.

It takes me time to adjust to a ballet dancer of either sex if they are not white and God forbid if one of the men are showing any body hair ! --but then the talent usually takes over.

I have been a member here for a few years now[had to change my sign-in as everything crashed] and have learnt so much about the theater and acceptance.

I watch a lot of TV series now as I can't go out as often as I would like and because of discussions on here regarding gender and race acceptance, whenever I see a mainly white cast and a non white character walks into a scene, I automatically think, 'token'.

I hope that isn't so because as the scene/act/series continues I usually forget the race and get back to being engaged in the story--it's just the brain adjusting to the little speed bump.

Type writers were the only 'accessory' we had at school, not like today, so my acceptance to change takes much longer. With the ideas being fought for today, the stage and the world should be a multicoloured pot-pourri for the youth of today and the word 'token' would only exist at the subway.

In no way were my thoughts meant to inflame or cause derision Let's not even think about a black version of Follies, just, I want to go see Follies.

The Distinctive Baritone said: "I was thinking yesterday about the whole issue of the theater being, all the way back to Ancient Greece, a white, patriarchal institution, and how we in the industry are working to reinvent the art form to include the voices of everyone and make itaccessible (and desirable) to everyone. Although I believe rethinking the classics and using color conscious casting is great, if we are goingto truly move forward, we need to also focus on new works with characters of a wide range of ethnicities. Having, say, black actors playing roles that were obviously written for white actors in a show like Folliesmay give those actors opportunities, and bring a more diverse audience to that particular production,but it will not really fulfillour long-term goal.

The reworking ofShuffle Alonga couple years ago I guess was kind of "the black version ofFollies," but Broadway is becoming less and less hospital to those kinds of works, which is why the future of theatre really is in Off-Broadway and regional theatre."

I think SHUFFLE ALONG failed because it felt like a dusty lifeless history lesson (with little individual bursts of creative energy), unlike the revival of FOLLIES with Bernadette and Jan Maxwell, et al that was just jaw-droppingly fabulous from start to finish, and throbbed with life. I don't necessarily agree that Broadway is less hospitable to such shows, DEAR EVAN HANSEN, THE BAND'S VISIT, etc. being prime examples of wonderful contemporary artistic fire...

But the idea of an all-black FOLLIES is an exciting idea to me! I see Audra and Stokes, and LaChanze and Brandon Victor Dixon, Leslie Uggams or Diane Carroll "I'm Still Here"..... I'd put my money down for this one in a heart beat!! :)

The Distinctive Baritone said: "Dave, I think most of us lefties agree that doing the "black" version of a show (like the Pearl BaileyHello Dolly!) is, today,actually in many ways more racist than deliberately excluding black actors from an all-white production. That's white I was trying to politely communicate."

It's not about which one is worse. They are both bad.

Doing the same thing in return because you feel you have somehow earned the right is just as wrong.

GeorgeandDot, I totally agree with you.

Updated On: 7/2/18 at 12:41 PM