i agree, i think if the cast are talented the Show would work. Look at Tokyo Productions of big Musicals, and Korean Productions, they always do extremely well. I love a multi racial Cast in general for Shows, but as far as an all-black Cast it depends on the Director's creative wishes.
How about people write new, original, creative, invigorating pieces of theatre rather than reviving the same things over and over again, be it white, black, asian, indian, or otherwise? I'd LOVE to see something DIFFERENT and NEW...except "Gypsy." Personally, I can go for a revival every few years...uh oh, maybe that makes me a racist, too?? I never know where the line is drawn with some...
>> But again, Sean, what is there about the character that requires him to be white?
About all I can say at this point is, read the books. All of them. Look at the type of men Michael dates.
It's just who he is and what he would do. And before Phyllis goes apoplectic again, no, the nurse that took care of Michael's mother isnt in the same dating league as Thatch. A trick, yes. A relationship, no.
But whatever. This is now getting utterly silly, for me as well as everyone else. You have your vision of Maupin's characters; I have mine. And apparently we all must have those visions vetted by Phyllis before they're acceptable for public consumption. God forbid we make an error on a name.
The last poster in this thread got it right: how about something original? Sweet Jesus, I'm starting to wonder how we ever got through the 60s and 70s without reviving everything possible. Gosh, maybe because back then, folks actually had a smattering of creativity and didnt have to depend on doing all-this or all-that of fifty year old shows to make a buck. But whatever... you guys discuss it at your leisure.
"Again, is this (preponderance of revivals) happening somewhere, other than in the fantasy of the OP on a discussion board?"
Some light research might help a bit. From January through December, 1961 (50 years ago), there were 3 (three) revivals (The Octoroon, Hamlet, and Jerome Robbins' Ballet: U.S.A).
January through July 2011 - we've already had 13 (and three more are scheduled to open before December).
I, for one, am quite relieved there's never been a revival of Barefoot in the Dark with black actors. I'd hate to give the impression that black people were people in the 60s, too!
SeanMartin, you made an error in a name AND in a pretty key plot point about her. And you're still clinging to the notion that Jon HAS to be white blonde. Is that because it's the one thing you remember correctly from the book? As Reg pointed out, he wasn't blonde in the miniseries, so you should take issue with that, if the blonde hair was the actual issue.
So Sean (anyone else, for that matter) can feel free to think I'm apoplectic, or overeating or whatever else he wants. I'd rather be that a thousand times over than as tone deaf to racial issues as several people in this thread are.
I'm suddenly reminded of Richard Rodgers' 1962 musical No Strings, which features a leading lady originally (and in all later versions I've seen) played by an actress of color, although her race is never directly referenced in the show (if I remember correctly), outside a comment that she would be out of place in Maine.
Could that count as an early (if not the first) example of non-traditional casting on Broadway?
How about 1964's The Owl and the Pussycat? I believe race is not directly referenced in that one either, although the role was originally played by Diana Sands (but by the notorious actress of color, Barbra Streisand, in the film). Sands' understudy, by the way, was the lily-white actress Rose Gregorio.
Stop looking for reasons to kvetch, Reggie; my point was the question that was clearly expressed. I know you have an urge to pounce, but just try reading and replying this time.
Newintown, why are you so unpleasant in every single thread? I wish I could figure out how that gratifies you.
I honestly didn't know what your point was; I took a stab at it.
Your first question was to ask was that not the first example of nontraditional casting, right? I don't know the answer to that, but from what I've read the show was conceived before Diahann Carroll was cast, which lead me to say what I said.
Your second question was "How about Owl and the Pussycat"? Okay, how about it? What IS your point there? Since you went on to say that it was originally cast with a black actress with a white understudy and filmed with a white actress I thought maybe you were saying race didn't matter in this instance.
I'm sorry you saw my response as pouncing. I'm not sure what I pounced on. I still can't grasp how it's kvetching. I honestly (though stupidly, I now realize) thought we might be in agreement.
And by the way, newintown, instead of attacking me, YOU could have read and replied to my post. Why couldn't you simply have said "No, what I meant was . . . "?
You calling anyone out on "pouncing" is the pot calling the kettle blindly cast.
Every time newintown walks into a room, it positively reeks of vinegar and water!
And why in God's name are people using the all-black Guys and Dolls and Hello, Dolly as an argument for anything??? Those productions are over 35 years old!!!! What does that have to do with anything?
Could you just imagine the SH*T-show that would have ocurred if Michael Mouse was cast black? (which would have been AWESOME!)
Maupin wrote one thing in the 70's. But he was intimately involved with this production. One has to imagine that he was just fine and dandy with the role of Jon Fielding being portrayed as a black man.
Wouldn't it add so much to the story? Addressing, in a way, the homophobia in the religiously-conservative black community? I've been a huge fan of Tales of the City since I read them in college. They truly changed my life. I never before thought about a black Mouse, but I think it would be perfect!
Darryl Stephens can't act his way out of a moist paper bag. Give me a break! Though, that photograph is delightful, I wouldn't kick him out of bed for eating crackers, but, the guy can't act...