Undertapped

I recently read the Washington Post's review for "Passing Strange," currently running at Studio Theatre's 2nd Stage through August 22 (Praise the Lord for extensions. Now some of my friends will eat until the end of the month).  I could not agree more with the praises of Peter Marks.  I had the opportunity to see it in previews, and was blown away by the quality and level of talent. There is a specific observation, however, that Marks goes on to make which really caught my attention:

"Virtually all of the actors are African-American, and the ensemble's depth is a reminder that even at this late date, it's a talent pool that remains undertapped in these parts. . ."

And before going any further, I want to quell any suspicions that this entry is any sort of "woe is us" cry of unfair treatment or inequality.  I am moreso interested in exploring and sharing thoughts, observations and personal experiences, in an effort to try and understand this apparent "undertapping" better.  I encourage feedback and discussion always.

A career in acting/theatre/film is hard. Pursuing it is insane, yet can be equally as rewarding.  This goes without saying.  Regardless of what ethnic background you represent, you are bound to face a maze of adversity from the day you form the thought, "I think I want to be an actor." Much of the adversity comes from one's own self--doubt, fear, self-esteem, cowardice, possible lack of talent (though who wants to admit to that?)  We try to swallow/bury these insecurities, in order to face the day. 

Then there are the outside forces-- like auditions, interviews, networking, competition--towering in stature, that we often attack in a very quixotic fashion. (After saying all of this, I now feel like it may just be me. . . but I'll continue:)

We wage war daily against all of the above-mentioned things, just to get that one phone call/email/tweet (maybe?) that says, "We want to hire you!"  Absolutely the best feeling ever!

At that moment, we become a "working artist."  We can then call up family, send emails to friends, update our Facebook status just to say, "I got the part."  As the years go by, the excitement of getting new work never seems to fade.

These are the experiences that we share across the board, regardless of race, creed or color.  We are all united by that hunger to stay afloat and not fade into obscurity.  This shared experience creates a brotherhood and sisterhood that should, by all means, alleviate any social gaps that may be reflected in the status quo.  After all, the arts should always be at the forefront of closing these gaps and challenging the status quo.  However, with so many artists just trying to get that next job, we can lose sight of that and become complacent in our box. 

Over the past several years, I have been blessed to be a part of a few diverse casts.  Within these casts, there are always conversations that take place about other friends and colleagues in the business, so a lot of names are thrown around.  Almost always, without fail, there comes a point when I mention well-known artists within the local Black theatre community, and the non-Black castmates share a look of puzzlement.  Likewise, a White/Asian castmate will mention a name of a fellow White/Asian actor from the area, and I stand perplexed. 

When the gap became apparent to me, I began to pay attention to how I socialized within the theatre community.  Then I took to Facebook and observed how others socialized within the same theatre community.  I checked out colleagues' photo albums.  Saw how people were partying? With whom were they partying? Whether we want to admit it or not, there is an overall tendency still to stick to the same side of the gap, nahmean?  There ARE exceptions, of course.  I would be blind if I did not see that.

And while I see this tendency within the arts community to maintain the gap as a problem, I am not in a rush to call it "racism," with its old, ugly face.

I think if we look at all of the factors that go into a production, we could possibly begin to see where the genesis of this gap exists.  From the choice of plays, to the directors, producers, casting directors, and even the actors, there is something that needs to be addressed.

I have never been a fan of the term, "color-blind casting."  I understand that the creation of this idea may have been well-intentioned, however I am offended by the notion that anyone needs to "close his/her eyes" to something that should be appreciated and celebrated.  Cultural differences are not something at which to scoff or judge, they are an opportunity for discussion and exploration.  Do not be "blind" to my Black skin.  See it.  Then see beyond it.  I would implore both sides of the gap to do the same.

There are many plays that call for specific ethnicities. Often the message and effectiveness of the piece relies on this.  In these cases, I think most can understand the practice of "colorstruck casting." :)  However, I believe that growing up in this world that we live in, many of us unconconsciously practice associative thinking, and that reflects in casting choices.

What race do you immediately associate with:

-Doctor?

-Governor?

-Thief?

-Servant?

-King?

-Salesman? 

I would venture to say that a lot of us think about race, even when we're not thinking about race. A White director pulls out a piece by Shaw or Ibsen, and, unless its February, how often does he/she envision a person of color in the lead roles? or one of the prinicipal--non-servant--roles? 

On the same note, when actors of color stroll through audition notices and see notices for a Shaw or Ibsen piece, unless he/she sees that the production is looking for an African-American actor, how often will we make the appointment to be seen?  I am just using Shaw and Ibsen as examples.  I recently had to check myself on this.  When I first graduated from VCU in 1997 and ventured into the DC theatre scene, I auditioned for everything.  Audition notices could have stated, "We want anybody to audition, but J. J.," and I would have still shown up.  As the years have passed, I've found myself searching audition notices, zoning out, until I see the keywords: August Wilson, Black, and African-American.

That recent awakening also made me understand why I have not done a Shakespeare production in years.  The first 5 years of my career was inundated with classical work.  Yet the past 7 years, there is not a Shakespeare credit to be found. 

The point that I'm attempting to make is that the effort to close the gap has to come from both sides.  I have held the belief for a long time that it is very difficult to fear/hate someone once you get to know them. .. really--unless, of course, they kick your puppies.  You begin to see the three-dimensionality of a person, beyond racial archetypes, when you make the effort to get to know them.

Last week, I had the honor to be a part of a pretty major, week-long, theatrical event.  It was a playwrighting workshop held at the Kennedy Center for MFA candidates from around the country.  Other then playwrights, there were also directors, dramaturgs, and actors brought from outside of the immediate area.  It was a wonderful week!  Meeting new people, hearing new voices, etc.  Everyday before going into our separate workshops and during breaks, we all had a chance to mingle among each other--Black, Latino, and White. 

I observed, however, that when it was time to go into our workshops, the Black actors would gather in our room with the Black playwrights, and the White actors would gather with the White playwrights.  It was just one of those "Hmm" moments.  I cannot overstate how blessed of an experience it was, with the talented groups that we had, and I am so thankful to have been a part.  I could not help but observe that we were just a reflection of the society in which we live.

So what do we do?  Do we even care to do anything?  How do we make sure that at this "late date," that more of our actors of color become more sufficiently "tapped?"  I hope this is a conversation that we can continue to have, but even more importantly turning conversations into actions.

Looking around now, the Inaugural DC Black Theatre Festival is taking place and people are WORKING.  My little effort with the "Making History" series started out as a way to give more visibility to theatre/film artists of color, because who isn't on Facebook?  It has since evolved into a way to hopefully start bridging gaps.  Then there is Galvanize--DC's Black Theatre Network--which strives to empower local Black theatre artists and is currently starting to understand its purpose within the community and seeks to fulfill it.

We have an incredible opportunity within this theatre community to set an example for society, but the responsibility lies with us all.  Blaming and finger-pointing is hardly ever effective. (You just have to watch these network news channels to see that).  I would say make a conscious effort to open up yourself to your colleagues, regardless of race, until the effort is no longer conscious. . . nor an effort.  Lastly, just make sure you are doing your part to become a "well-tapped" artist.  When you think you've done all that you can do, do more.

Peace and love ALWAYS,
J. J. Johnson