Tuesday, February 26, 2008
Once Pure White, American Classics Cross a Color Line
New York Times: "THEATER people have been talking for decades about James Earl Jones playing Big Daddy. The established white Southern setting of Tennessee Williams’s “Cat on a Hot Tin Roof” notwithstanding, Mr. Jones, the barrel-chested actor with the inimitable basso profundo, strikes many as a natural fit for the foul-tempered, vulgar landowner. There was serious discussion about building a production of the play around him back in 1987, and when the producer Stephen Byrd approached him about the part in the mid-’90s, Mr. Jones told him, “I always wanted to play that cracker.”"
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5 comments:
People should realize that actual color-blind casting is nearly impossible. You can't act your appearance away, and it needs to be accepted that casting a person who is not white in a play that has traditionally seen only white actors WILL inevitably make a statement.
I'm not saying that it shouldn't be done by any means, I'm saying that even if the statement is as simple as "the theatre world has not been fair to black people"
different versions of plays exist for many of the classics, yet few people realize it. it's only when these lesser known versions surface and cause someone to get upset by them that they make their way into the public light.
Not only will it make a statement, but it can be distracting from the show. Now, I know how horrible that sounds, but let's say a show features a family in which it is clear that they need to be biologically related in order to fulfill the needs of the play. If the family was written as white, and you change it to a family of a different race, that may not turn out to be a problem. But if the whole family is white except the daughter is African American or Chinese, that would not make sense in the context of the play. And yes, many people would be easily able to put that aside and focus on the meaning of the performance, but at the same time, other audience members might have more of a problem.
Regardless, this is not to say that color-blind casting should not be done, it is just important to see all sides of impact.
I really understand how people can be a little startled with color blind casting on tv. But i feel like the audience for the theatre can be more flexible in understanding the color blind casting. I understand sometimes the race and the appearance of the performers are often a crucial piece that holds the play together. But we've been keep moving forward and I hope this matter will settle that the term color blind casting does not mean anything.
It is always nice to hear about “big name” Actors and Directors pushing the boundries of theatre, especially in New York. The colour blind casting of this production certainly makes for some interesting and new perspectives on the themes of the play. Plus you know that anything with Jones and the villian is going to be good. I am curious to see this play and the choices they made through out the story.
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