Minority performers vs. minority audiences

A recently released survey on the ethnic makeup of Broadway performers made for an interesting comparison with another survey this month on the composition of Broadway audiences. (The former survey examines the 2015-16 season and the latter 2016-17, but the trend is broadly the same.) The Asian American Performers Action Coalition found that minority actors accounted for 35% of all roles on Broadway in the 2015-16 season. The vast majority were blacks, who represented 23% of all roles, with Latinos at 7% and Asians at 4%. That is, blacks are significantly overrepresented on the Broadway stage given that they are 13.3% of the US population (July 2016 census estimate), while Latinos (17.8% of population) are significantly underrepresented and Asians (5.7%) more or less balanced.

The survey also notes that minorities account for 56% of the New York City population, raising the question: who the heck is the majority? In any event, as the other survey by the Broadway League shows, this is not the percentage you find in the theaters. A whopping 76.8% of Broadway audiences last season were white, well over both their New York numbers (where, as we have seen, they are a minority) and their 61.3% ratio of the US population. Asians are also overrepresented at 8.4%. In contrast, both Latinos and blacks are pitifully underrepresented at 7.1% and 3.4%, the latter only around one-quarter their ratio of the US population. That is, those last two categories together account for around 30% of the population and 30% of Broadway roles but only around 10% of Broadway viewers.

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Premium tickets: Don’t bring us your poor

  • Premium tickets: Don’t bring us your poor

10/10/17 (Tues)

Add another exclamation point to Hello, Dolly! The NY Times reports that premium tickets to the mega-hit between now and the departure of superstar Bette Midler in January will go for an eye-popping $998. That “98” sounds like Walmart marking its prices just short of the next dollar mark, and it would be nice to think that the producers are embarrassed enough to want to avoid four figures. But we know, of course, that they don’t care a whit about what anyone thinks given the overwhelming demand and limited supply for their tickets (which will actually cost $1,009 with Ticketmaster’s usurious charges, reaching four figures anyway).

Once upon a time, the theater was at least nominally an egalitarian business: you stood in line, you got your tickets when your turn came around. You knew that everyone else in an orchestra seat paid the same as you did (other than perhaps discounted day seats). Black, white, male, female, American, foreign, tall, short: everyone had an equal chance at getting a ticket. Yes, scalpers always existed, and we all knew that the rich weren’t standing in any line for their tickets. But we could comfort ourselves with the knowledge that scalping at outrageous prices was at least illegal. Now it’s the producers themselves who are charging those prices, claiming that they’re being deprived of all that illegal money. Got it? Instead of finding ways to prevent illegitimate activity, they’ve simply made it legitimate.

They have every right to do so, of course; no one is forcing the public to buy tickets, and allowing supply/demand to determine prices is the very basis of capitalism. The limited supply of tickets has to be allocated somehow, and doing that through pricing is no less legitimate than through first-come, first-served, i.e., time vs. money. What that means in real life, though, is that like elsewhere in our society, the rich go to the front of the ticket line, and you, the not-rich, go to the back. The theatrical community no longer even pretends to be treating everyone equally. Fair enough. But when the largely left-of-center Broadway community goes on about diversity and the poor and undocumented immigrants and all that, their words ring awfully hollow.

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Charlottesville: The long, withdrawing roar

Let’s get this out of the way first: I have no love for the far-right extremists who marched through Charlottesville last week, not least because they want to kill me. When they go on about Jewish control of the government, media or whatever, what they’re saying is that Jews should be eliminated from this perceived position of power, however that might be accomplished. Not a pretty thought. Having been raised in Alabama in the 1960s, I’ve had plenty of exposure to far-rightists, including the Ku Klux Klan. On one memorable occasion, I was in the car with my brother waiting at a light when we were approached in the middle of the street by a hooded clansman. He came up to the driver’s side, passed me a pamphlet of some kind and moved on, saying, “Y’all have a nice day.” I was struck by the way he maintained the social niceties even as he promoted his racist bile. Evil comes in all packages.

Nevertheless, he and the crowd last week are citizens too. They have every right to march and spew their slime as long as they don’t resort to violence or make specific threats against individuals. They should be allowed to gather, say their say, and leave. Any intimidating behavior on their part should be dealt with forthwith by the authorities. But when opponents scream over them, wield weapons and prevent them from demonstrating peacefully, whatever their views, that is not exercising your freedom of speech; it’s violating theirs. Once they have had their say, you have the floor and can rant and rave and condemn them at your pleasure. And they do not have the right to stop you either. That’s the way it works.

Allowing the other side to speak out doesn’t just protect them. It protects you. I despise the far-left extremists who can’t accept that basic idea. (As it is, the far-left loathing for Israel will lead eventually and inevitably to oppression of Jews as well. So we get it either way. There’s plenty of evidence that this is already happening, like the Chicago lesbian parade in June that ejected lesbians carrying Jewish Pride flags. And given the proven violent tendencies of this group, I find them very scary.)

In any event, preventing citizens from speaking or gathering doesn’t make them disappear or convince them they’re wrong. Better to expose the hateful ideas to the light of day, where they will live or die on their own terms.

It must be said that the social system has been undermined in recent years by the actions of the judicial branch, which is increasingly taking over the role of the sclerotic legislative branch by overturning laws — effectively creating new ones — in areas like same-sex marriage, affirmative action and transgender issues. From the perspective of opponents, why have a vote in the first place? Unless there’s a compelling constitutional rationale (for same-sex marriage, the court cited the “dignity” of gay couples), citizens will feel that their vote is meaningless – that is, democracy has failed them. In addition, the constant harping on race makes permanent villains of innocent bystanders, pushing them into a corner where nothing they can do is right. At some point, that is going to have consequences.

Once faith in the system starts to crack, once people feel that their fate is being taken out of their hands, once the bond among citizens fades, what happens then? We might be seeing the answer in Charlottesville.

 

Much Ado About “Comet”

  • Much Ado About Comet

A producer trying desperately to save a sinking show removes a relatively unknown actor (with full compensation) in exchange for a major box office draw. Seems straightforward enough.

Now try it again: A producer trying desperately to save a sinking show removes a relatively unknown black actor (with full compensation) in exchange for a major Caucasian box office draw. If that sounds different to you, then the problem may be you.  Continue reading

Diversity again

Diversity again. Over the past week, Actors’ Equity has released a survey of diversity in US theater, while the Academy of Motion Picture Arts and Sciences, which votes on the Oscars, has sent out a record-setting number of invitations for membership that include a notably large proportion of women and non-whites. I’ll reserve comment on the latter other than observing that many of the invitees would not appear remotely qualified by the objective standard of their film industry credentials, which will ultimately raise questions over the organization’s credibility. I’m more interested in theater.

I live in a country where diversity (as defined in the US) is not a big concern. With rare exception, casts in local productions here are 100% Japanese (note: not “Asian”), even in musicals – The King and I and Miss Saigon come to mind – where some need for ethnic diversity is built into the show. So I’m probably not overly sensitive to the issue.

Nevertheless, I seem to be missing something in the Actors’ Equity survey. Continue reading

Palestinians can have their future but not our past

I found this long-ago essay on my PC while rummaging through my files. I had submitted this to the Japan Times in response to some typical twaddle they had featured on Israel; they really should learn to stick closer to home. In any event, the response was never printed, so I thought I’d throw it in here. I must have written this around 2006, when Ariel Sharon and Yasser Arafat were still on the scene, but it still holds up pretty well:  Continue reading

Electoral system and the united states

I’ve noticed in my travels that when people are asked where they’re from, most will respond “Japan” or “France” or “Kenya” or such. The big exception, as usual, is Americans, who rarely say “America”; instead, it’s New York or Ohio or Tennessee. That is, their identity is tied up in their states. That makes perfect sense, of course, given the huge distances, both geographic and cultural, in a continent-size nation. No one says “Asia” or “Europe” or “Africa”, so Americans are in that sense in line with the norm.

It occurs to me, then, that all this talk of jettisoning the electoral college system for the popular vote is, regardless of last month’s results, missing the point. Continue reading

Hamilton and Pence

11/30/16

I’m a bit late to the Hamilton brouhaha after an out-of-town trip, but: These guys just don’t get it, do they? The actor who called out the vice president-elect seems to think he was being respectful. He is lecturing the new administration not on its actions — it’s not even in office yet — but on information presumably taken in his case from the NY Times and Facebook news posts. What are the chances that he’ll be fair in judging the administration once in office? This is why voters outside New York and California have just stopped listening. I’m sure I’ll see Hamilton eventually, but it’s telling that the creators and others in the show’s bubble don’t think the show itself is sufficient to convey the message. So tiresome.

Emma Rice gets the boot

10/26/16 (Wed)

Emma Rice is being shown the door as artistic director of London’s Globe Theatre after less than a year in charge. She will step down in 2018. The board felt that her extensive use of lightning and sound technology violated the spirit of the Globe, which was established to present plays in conditions similar to those under which Shakespeare worked.

I loved Rice’s previous work with the innovative Kneehigh group, and thought that the spare style she perfected in those shows would translate well to the Globe. Sadly, I have to admit that I was wrong and agree with the critics that she didn’t seem to have a clue what the Globe was all about. Continue reading