Is Theatre being led by the wealthy elite? Do audiences really care about diversity?

ACT FOR CHANGE 2015

Hosts- Danny Lee Wynter, Daniel Evans & Kobna Holdbrook-Smith
Panel Chair- Shami Chakrabarti
Panel- Adrian Lester, Phyllida Lloyd, Cush Jumbo, Mark Lawson, Jenny Sealey, Chris Bryant

Diversity. Inclusion in the arts. 

It's a biggie. 

And the basis for Act For Change's debate at the National Theatre on 2nd June 2015. I was lucky enough to be there, and live tweeted through he event (RSI calling) - but here is a shortish summary of the event.

The event is launched with actors reading anonymous testimonials of rather shocking experiences within the theatre industry, relating to all manner of diversity & inclusion. We're talking racism, sexism, homophobia, and disregard for disability in the most blatant of senses, and proof, that there's work to be done.

UK Theatre

First off, let's remember, that diversity within theatre is ahead of diversity on screen. Marginally, but still ahead. It's a sentiment echoed by critic Mark Lawson. A silver lining at least.
However, I suspect that's as far as we'll get (for now)

Kobna interviews Rufus Norris (NT AD) on how he thinks the NT do at diversity. Rufus mentions that the NT needs to reflect its London and UK audience, but when it comes to putting quotas in place (onstage and backstage), he's more undecided. 

Phyllida Lloyd (director) argues that quotas are needed, because if they're not- the "white men won't miss us". Further she mentions that if the same classical repertoire is dominating the theatre scene, then it sets the notion that plays can only be done & viewed in a certain way. 

It's a sentiment echoed by MP Chris Bryant, that we can't keep doing the same cannon of theatre in the UK. 

The Race Factor

But when we're looking at diversity in theatre, in reference to race, where do we start? 

Actor Adrian Lester points out that BAME people have existed in the UK since 1800s, so the constant churning out of "white" costume dramas just isn't realistic, going on to add- that when you don't show that realism, then writers, directors and casters are working within a "myth". One TV writer even mentioned, through Mark, that unless you specify the race of a character, then directors don't get the point.

Startlingly Mark also mentions that another friend once reckoned that "costume drama is popular because the audience prefer watching white people only"  

Perhaps in theatre responsibility lies with the artistic directors, that they should stop hiring associate directors who are their "mirrors"- the "keys to the building" need to be given to more diverse hands, as Phyllida states. 

As some may say, responsibility for change begins at the top. Or perhaps more diverse stories are needed to be told. Either way- the race factor of diversity in theatre, isn't quite there yet. 

Disability

And how about disability in theatre, does that fare better? 

Graeae AD Jenny Sealey says that it's a real fight for inclusiveness, not only on stage but also in existence. She quotes as someone stating that "people don't go to the theatre to be reminded of the tragedy of being handicapped" A real lack of access to work, makes it all the more difficult for performers with a disability. Where are the funds to help?

Audience members follow on with the issues, being given a fair chance to get into drama schools. If they're not able to get in, then how can they be "excellent"?  We're reminded that disability transcends race, gender or class. As one person mentioned to me- "anyone can become disabled at any point of their life" 

But it's not all bad news, as Rufus announces plans to have a show on at the NT that will be "very focussed on disabled issues" 

I guess with both race and disability, the more we see it, the more we learn & the less we "fear"

Education 

What's the solution?

Actress Cush Jumbo, mentions education-  let's make new TV and theatre shows that not only educate, but re-educate.  Audience members agree- stating that education needs broader stories/plays in the classroom rather than just the classics. Diversity in theatre begins in education. 

Phyllida gives the example of taking one asian actress into a bangladeshi school, where the kids had never had that sort of exposure, of seeing someone as they were, on stage. It inspired them. 

Education should be able to show all children, that people like them, do exist/work and are successful in the arts. As Chris mentions, the "arts are the spiritual NHS" of the UK

Political

And what about the political support?

Chris states that we haven't even started with diversity in the arts. More needs to be done. There is a fear that future cuts will hit theatres outside of London, the hardest cuts are coming & the BBC licence fee needs to be kept- it funds so much opportunity. Ed Vaizey, sat in the audience, mentions that there have been changes made. 

Although it seems, those changes might not be in the right direction.

Summary

What now?

Well the frustration at the lack of change is evident, but things can be done, starting with the individual. "Theatre is the most glorious way of changing perceptions, but not enough of us are doing it. That's boring" 

Cliche i know, but if at first you dont succeed, then try again. Write. Take action. Network. Tell your story. Inspire others.

Shami Chakrabarti, chair of the panel, let's us know that we have a power in theatre & the arts, & we need to use it well.  A statement I wholeheartedly agree with.

Is theatre being led by the wealthy elite? There's a sense that perhaps, it really is.

Do audiences care about diversity?- Well lets show them diverse, and let them decide.

Lets not be having this same debate again in 10 years time. We're stronger now together than we ever have been.

Devoted & Disgruntled: What are we REALLY going to do about Race and Diversity in UK Theatre?

Feb 2014

The things I learnt & the things I heard- Race & Diversity.

The learning & The listening:

I was lucky enough to attend the D&D session on 27th Feb – What are we going to do about Race & Diversity in UK theatre?

From my viewpoint, here are a few brief things I learnt, & heard: 

There is a collective voice out there, within theatre that is one of hope. Hope in the sense that things will change. I’d never realized how strong and united that voice was until yesterday.

Session 1: 12 Angry Men- where does the buck stop with casting?

In the first session-I heard fantastic debates around who makes the decision when it comes to allowing a play to be “blind cast”. Where does the buck ultimately stop? Director, caster, producer or writer?

We live in a society that is incredibly diverse, and surely theatre should reflect that. Changes are coming, but it’s a lot slower than we want. People see actors of race going abroad to get work, esp. the US—but when the work is actually more readily available out there- then why the hell not? Surely in the UK we should be retaining and growing the incredible talent we have.
I heard someone say, that if you ask a person to think of an actor, they will generally think of a Caucasian actor. Ethnic actors tend to be seen as “other” – fillers. Certainly I was alarmed to hear that, but sadly the more I think of it, the more it rings true.

What has to happen for these changes to occur? Personally I’d like to think if we had more writers of ethnicity, then maybe that would make a difference. However, if “people” are not accepting ethnic writers’ work unless it conforms to the ethnic stereotyping, then that just pushes us further back.

Session 2: What did you do at school to get you where you are today?

When it comes to education- it’s quite clear- Arts is as important in the education system, and just as valid, as any subject.

Through discussion, it was interesting to learn that as actors who went to school, and then into training, your imagination sort of gets stifled. At school you’re encouraged to be as creative as you like; the world is your oyster. But as you go through, you get more and more pigeonholed. In my experience, spending my training in shows with a turban on my head. (Incidentally I’m not Sikh)

Luckily for me, that was a bit of a driving force to want to dispel the stereotype. That as an actor I can play a part that doesn’t require a cod Indian accent, or a funny head shake.
But ultimately, if you’re learning as a child that you could play anything in a play, then this should be encouraged in drama school training. Of course, there are obvious restrictions, but race & diversity shouldn’t be one. I’m sure it will happen, but again, just not as fast as people want or like it to occur.

Overheard/In Conclusion:

Certainly through most of the day, I heard some rather encouraging comments that have inspired and pushed me to want to do more.

However, I did also hear comments about people saying that they were championing things to change for black actors in the industry, and that some who had been networking, hadn’t actually talked to any black person as yet.

Race & Diversity means everyone. There is no monopoly on that term to any one race- its all, Black, White, East & South Asian. Let’s be careful not to make it just about one. 

Ultimately there is far more strength in numbers.