Equity President Chloe Dallimore says the casting of an American performer in the role of Willy Wonka highlights the need for an industry-wide foreign artists’ agreement to cover musicals.
Wednesday, October 17, 2018
Equity urges action after disappointing Willy Wonka casting decision
Equity President Chloe Dallimore says the casting of an American performer in the role of Willy Wonka highlights the need for an industry-wide foreign artists’ agreement to cover musicals.
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This is such a complex issue which I was never aware of. I've constantly seen the issues with whitewashing and the like, but I had never heard of there being issues with overseas actors. I believe that this has much to do with American sensationalism creating a situation in which celebrities are so desirable that they are worth the extra cost, and therefore local actors miss out and that celebrity gains more notoriety, creating a cycle in which local actors are never cast. When I read this article, I simply could not comprehend why Australian actors would be snubbed, so I did so more research. It seems like this problem extends beyond commercial theater, but also government subsidized movies specifically about Australian history and culture. I wouldn’t equate it with white washing, but it is still a pretty serious problem. It seems that it is not anything to do with being anti-Australian though, which is where my confusion was stemming from. This is a problem stemming from the greed of producers who want a recognizable name to plaster on their production, which is also a major problem greatly impacting the careers of local Australians, and one that I agree should be tackled by Unions.
Similar to the comment above. I have never before heard of this issue in international productions and I am honestly a little confused. My understanding from this article is that The AEA and LPA had previously had an agreement but it was terminated by the LPA for no reason and has never been renegotiated. So, there have recently been a large number of foreign performers cast in AEA productions. I am guess that this is because they can be paid differently and I am assuming the AEA productions can't not hire someone because they are Australian? I guess this is where I am confused about the logistics of it all. I might agree with the need for some sort of agreement to be negotiated, but I am not sure what that would look like either. Perhaps a good starting point would be the AEA agreement with modification as necessary but I'm not sure the LPA would like that. Overall, I would like to know more about the logistics of casting foreign performers
I read the title and completed a full rotation eye roll. Is this really a thing? Is it possible that this is just the vision the director had. This production of Charlie is styled much closer to the very American Gene Wilder version, unlike the much more Dahl-like London version that had less of the 1971 influence. Thus this Wonka has to have the hyper-eccentric kooky sarcasm of Wilder, not the slightly creepy, out-there, rudeness of the British Wonka, hence the need for an American actor. No matter how good an actor there will always be an American, British, or Australian influence to some extent. Disney has done this quite a few times. They did this with Gaston in Beauty and the Beast always having him played by an American, with the sole exception of Hugh Jackman. More recently they are doing it with the Genie in Aladdin. Both those characters just have something that can only be captured in completion by an American. As for what this means for Equity I think trying to figure them out is way to deep of a rabbit hole. I knew how hard it was in England for American actors to perform and I guess I understand but this is one role, just one, it is not a slippery slope, it is a one off, besides Anthony Warlow can't play every older gentleman role.
I have to disagree with Sebastian in that I don't think that Genie and Willy Wonka have to be played by an American. American actors have been playing parts that are written as British and Australian characters for decades, and vice-versa. If the actor is a professional and skilled they will be able to recreate this easily. Side note: the "creepy, out-there, rude" Wonka he mentioned was played by an American actor.
Regardless of the specifics of this part bringing in overseas actors is something that not Australia deals with, but is something that every country with a thriving theatre industry has to face. Job security for Australian actors within the country is something that should be taken seriously. I agree with the author of this article that there should be some kind a motion towards a formalized system for bringing in international talent. UK Equity and AEA have an established exchange program, and this allows for an exchange of talent between the two countries but makes sure that this is controlled. I think that an agreement like this between AEA and the LPA could help to rectify this situation.
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