Playbill: When productions transfer from the West End to Broadway (or vice versa), the theatre community is often abuzz with speculation as to who will star. Will the original lead replicate their performance to great acclaim? Will a newcomer step in? While the word "transfer" implies a one-to-one comparison, it is exceedingly rare for a full transfer to take place. The majority of transfer productions—such as Leopoldstadt, Bad Cinderella, or Six on Broadway (or Hamilton and Pretty Woman on the West End)—select new cast members for the new market.
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Before reading this article, I’d never thought much about how the transfer of the production between West End and Broadway, especially from the perspective of the cast. After reading this, I’m honestly so shocked by the complexity of the process. I always knew that there will be complications with applying for work visas and other paperwork, but I didn’t know that there were so many other rules and policies from both Actor’s Equity and Equity. One thing that stood out to me is the idea that both unions will prioritise and protect actors from their own country by making sure they get as many opportunities as possible so that it’s not just a few people who are monopolising the industry. When the article brought up the production of Miss Saigon, I was surprised by the complicated story behind it. But I am very impressed with Actor’s Equity for stepping up and pointing out that “the role was crucial to improving employment opportunities for racial minorities in the American theatre”. Although the industry still has a low way to go in terms of supporting actors of racial minorities, I still think such acknowledgement is a helpful step forward.
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