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Thursday, March 23, 2023
Playwright Jeff Whitty Details 'Exploitation' During Development of Broadway's Head Over Heels in Online Tell-All
Playbill: Go-Go's jukebox musical Head Over Heels made it to Broadway for a brief run in 2018 with curious billing. James Magruder was credited with adapting the original work, while Tony-winning Avenue Q writer Jeff Whitty was billed as supplying the concept and "original book."
1 comment:
John Alexander Farrell
said...
The recent online tell-all by playwright Jeff Whitty, detailing his experiences of exploitation during the development of Broadway's Head Over Heels, is a troubling reminder of the challenges faced by marginalized voices in the entertainment industry. Whitty's account highlights the importance of diversity and inclusivity in all aspects of the creative process.
One of the most striking aspects of Whitty's story is the way in which he was expected to conform to a narrow vision of what a commercial Broadway musical should be. He recounts being pressured to remove queer themes and characters, and to make the show more palatable to a mainstream audience. This is a reminder that, even in the supposedly liberal and inclusive world of theatre, there are still powerful forces that seek to silence marginalized voices.
Another important point made by Whitty is the role that privilege plays in the creative process. He notes that the producers of Head Over Heels were largely white and male, and that their experiences and perspectives were prioritized over those of the marginalized writers and performers involved in the production. This is a reminder that true diversity and inclusivity cannot be achieved without a fundamental shift in power dynamics.
1 comment:
The recent online tell-all by playwright Jeff Whitty, detailing his experiences of exploitation during the development of Broadway's Head Over Heels, is a troubling reminder of the challenges faced by marginalized voices in the entertainment industry. Whitty's account highlights the importance of diversity and inclusivity in all aspects of the creative process.
One of the most striking aspects of Whitty's story is the way in which he was expected to conform to a narrow vision of what a commercial Broadway musical should be. He recounts being pressured to remove queer themes and characters, and to make the show more palatable to a mainstream audience. This is a reminder that, even in the supposedly liberal and inclusive world of theatre, there are still powerful forces that seek to silence marginalized voices.
Another important point made by Whitty is the role that privilege plays in the creative process. He notes that the producers of Head Over Heels were largely white and male, and that their experiences and perspectives were prioritized over those of the marginalized writers and performers involved in the production. This is a reminder that true diversity and inclusivity cannot be achieved without a fundamental shift in power dynamics.
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