In the Culture of One World Randy Gener

A Global Media Project | Arts Economy, Cultural Diplomacy and Critical Thinking

Seeking RepresentAsian: NYC actors confront Broadway and nonprofit theater leaders with sobering stats on lack of minorities on NY stages

NEW YORK CITY: The news may be good for black actors, but it is no song for the south for other actors of color.

According to a new minority report prepared by a coalition of Asian American actors in New York, blacks were far more likely than any other minority to be cast in roles which were not specifically identified by their race and ethnicity. Meanwhile, Asian Americans were “the least likely of the major minority groups to play roles that were not defined by their race.”

Actors Christine Toy Johnson (hidden) and Pun Bandhu speaks at "RepresentAsian" symposium | Courtesy of AAPAC

Actors Christine Toy Johnson (hidden) and Pun Bandhu speaks at "RepresentAsian" symposium | Courtesy of AAPAC

Today this coalition has released the entire report, entitled “Ethnic Representation on New York Stages: 2006/07 to 2010/11 Seasons,” a theater-by-theater breakdown of casting practices on Broadway and by 16 leading nonprofit theater companies.

The conclusions have been described as incendiary and may provoke a long conversation around the complicated issues of casting and true diversity on New York stages. The latest findings released today are:

  • Of the not-for-profit theatre companies over the past five years, The Signature Theatre had the highest representation of actors of color as a percentage of total roles (60%); The Public Theater had the second highest (34%). The Atlantic Theatre Company had the lowest percentage of actors of color (7%), the Roundabout Theatre Company the second lowest (10%).
  • The following theatre companies employed the most Asian American actors, presented here as a proportion of available roles: The New Group (8%), Signature Theatre (7%), The Public Theatre (6%), and Second Stage Theatre (6%).
  • The following theatre companies employed the fewest Asian American actors, presented here as a proportion of available roles: Atlantic Theatre Company (1%), Manhattan Theatre Club (1%), Playwrights Horizons (1%), and Roundabout Theatre Company (1%).

These percentages are based on a total of 6,596 available roles from the past five theater seasons. It does not reflect the current 2011-12 season.

Tonight, the coalition will present the 36 slide shows from this entire report at roundtable discussion moderated by David Henry Hwang, one of America’s greatest living playwrights and author of the most outstanding play of 2011 (Chinglish).

The discussion, “RepresentAsian: The Changing Face of New York Theater,” takes place Monday February 13th at 7 p.m. at the Pope Auditorium at Fordham University.

Casting comparisons of Broadway and Non-Profit Theaters over the past five years

Casting comparisons of Broadway and Non-Profit Theaters over the past five years

AAPAC began on Facebook. A number of Asian American performers flooded one another’s walls with the question, “Where are all the Asian actors in mainstream New York theater?” Since September 2011, the group began meeting to figure out a course of action.

In a collective, prepared statement, the steering committee members state: “A group of us took on the responsibility of organizing forums for the community to come together to discuss the issue of minority representation on New York City stages. It became clear early on that Asian American performers felt like things were getting worse, not better, and that we were largely invisible in the mainstream. However, there were no public statistics available at the time to verify this perception.”

Casting of actors by ethnic group on Broadway and nonprofit stages | Courtesy of AAPAC

Casting of actors by ethnic group on Broadway and nonprofit stages | Courtesy of AAPAC

The statement continues:

“A committee was formed to take on the ambitious task of tallying the ethnic make-up of performers on Broadway and at New York City’s most prominent not-for-profit theatre companies over the past five years, the results of which you hold in your hand. This report also contains informal surveys distributed to New York-based actors, playwrights and directors to be used for discussion purposes.

Our fears were legitimized. While it is to the industry’s credit that the total number of minorities and total percentage of roles non-traditionally cast has increased year to year, Asian Americans were the only minority group to see their numbers decline. They were also the group least likely to be cast in roles that were not defined by their race.

Compounded with the fact that there were few Asian stories being told, it is no surprise that employment opportunities seemed so bleak. This seemed out of step when Asian roles in TV, Film, and advertisements were at their highest rates in years. Two percent of all available roles seems unacceptable at a time when Asians comprise 13% of New York City and is the city’s fastest growing major minority group. The theatre industry, it seems, is not keeping pace with the world around it.”

Comparison of ethnic casting at all nonprofit New York theaters | Courtesy of AAPAC

Comparison of ethnic casting at all nonprofit New York theaters | Courtesy of AAPAC

The AAPAC reports wanted to compare minority representation on both the commercial and nonprofit sections. So the past five seasons of 16 of the largest non-profit theaters in New York City were analyzed.  These companies include Atlantic Theatre Company, Classic Stage Company, Lincoln Center Theatre, Manhattan Theatre Club, MCC, New Group, New York Theatre Workshop, Playwrights Horizons, Primary Stages, Public Theatre, Roundabout Theatre Company, Second Stage, Signature Theatre, Theatre for a New Audience, Vineyard Theatre and York Theatre Company.

Other findings of the AAPAC are:

  • Over the past five years, African American actors were cast in 13% of all roles, Latino Actors in 4% and Asian American actors in 2%. Caucasian actors filled 80% of all roles. They are the only ethnicity to over-represent compared to their respective population size in New York City or the Tri-State area.
  • The total number of minority actors has risen since five years ago, moving from 15% to at or about 22% for the past four years.
  • African American actors saw the biggest gains, rising steadily year to year from 9% five years ago to 17% in the 09/10 season before declining to 14% this past season.
  • Latino actors also saw their numbers increase, though not as dramatically, going from 2% five years ago to a high of 6% in the 07/08 season and then dropping for the next three years to 3%.
  • Asian Americans were the only minority group to see their numbers go down, from 3% five years ago, increasing to a high of 4% in the 07/08 season and then dropping steeply for the next two years to 1 percent in the 09/10 season, with a slight uptick to 2% this past year.
  • Asian American actors were more likely to be employed by the not-for-profits than on Broadway.
  • Asians were 4% of casting in the non-profit sector and only 1.5% of all roles on Broadway in the last five years.
  • The percentage of roles that were non-traditionally cast increased year to year. Last year, 10.6% of all roles played by actors of color were non-traditionally cast. However, this only represents 9% of all available roles.

“This is a fight for visibility, yes,” the AAPAC executive report continues. “It is a fight for equal access to employment opportunities. It is also an opportunity to expand perceptions of race and the range of characters we are allowed to play, a fight we share with all minority actors.  And finally, this is a fight we share with theatre practitioners and audiences of ALL races who thirst for vibrancy and relevancy in the theatre arts and a cultural legacy that reflects the full diversity and complexity of our experiences.

“We hope this report,” AAPAC adds, “will be used to track casting trends now and in the future, will raise awareness of and address inequities where they may exist and can serve as a measure of how far we as a community have come on this issue. More importantly, we hope this report will aid industry leaders in defining the solutions needed towards the creation of a more inclusive industry.

Roles non-traditionally cast, comparison year to year by ethnic groups | Courtesy of AAPAC

Roles non-traditionally cast, comparison year to year by ethnic groups | Courtesy of AAPAC

AAPAC’S mission is “to expand the perception of Asian American performers in order to increase their access to and representation on New York City’s stages.  The members of the steering committee are Pun Bandhu, Cindy Cheung, Kimiye Corwin, Angel Desai, Siho Ellsmore, Christine Toy Johnson, Peter Kim, Julienne Hanzelka Kim, Nancy Kim Parsons, Kenneth Lee, Allan Mangasar and Eileen Rivera.

"RepresentAsian" convening at LaMaMa E.T.C. | Courtesy of AAPAC

"RepresentAsian" convening at LaMaMa E.T.C. | Courtesy of AAPAC

AAPAC and Fordham University present
“RepresentAsian: The Changing Face of New York Theater”
Monday, February 13th, at 7:00 pm
The Pope Auditorium at Fordham University
60th St/and Columbus avenue, just inside main entrance

To RSVP, send an email to aapacrsvp@gmail.com  Seating is limited.

Roundtable participants are currently being confirmed and will be announced in the next week.

To check the latest updates and to submit questions for  roundtable participants, go to: http://www.facebook.com/pages/Aapac-Asian-American-Performers-Action-Committee/274685732556028

Nancy Kim Parsons, New York actor, at "RepresentAsian" | Courtesy of AAPAC

Nancy Kim Parsons, New York actor, at "RepresentAsian" | Courtesy of AAPAC

About Randy Gener

Randy Gener is the Nathan Award-winning editor, writer, critic, playwright and visual artist in New York City. He is the author of the plays "Love Seats for Virginia Woolf," "Wait for Me at the Bottom of the Pool," "A Parliament of the Streets," and others. His conceptual installation, "In the Garden of One World" (designed by Nic Ularu), debuted in 2008 at La MaMa La Galleria in New York. He is a renowned lecturer and speaker in the arts and technology, appearing at such schools as the Martin E. Segal Theatre Center-Graduate Center, City University of New York, Montclair State University, University of South Carolina, Brooklyn College; U.S. and European festivals as Sibiu International Theatre Festival, Prague Quadrennial for World Scenography, William Inge Theatre Festival, Humana Festival of New American Plays; as well as such institutions as Nuyorican Poets Cafe, Hallmark Inc., Dramatists Guild of America, Odeon Theatre of Bucharest, Romanian Cultural Institute-New York, Long Wharf Theater Company, Pan Asian Repertory Theatre and La MaMa E.T.C.

3 comments on “Seeking RepresentAsian: NYC actors confront Broadway and nonprofit theater leaders with sobering stats on lack of minorities on NY stages

  1. Pingback: Immigrant artists and scholars in New York tells their tales of struggle, woe and inspiration « in the theater of One World

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“From the Edge: Performance Design in the Divided States of America” at LaMaMa La Galleria

On Smart Power, International Cultural Exchange and Performance Design | An Interview by Amanda White Thietje

3 Interviews by AMANDA WHITE THIETJE:
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RANDY GENER and I met in Prague this summer, where we were both attending the 2011 Prague Quadrennial of Performance Design and Space (PQ). I was wandering through the exhibits, soaking up the inspiration and the beauty of the city; he was serving as both curatorial advisor of "From the Edge" (USITT’s USA National Pavilion) and Editor-In-Chief of this year’s PQ daily newspaper.
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Randy agreed to talk with me about the PQ, and there’s so much in this interview I want to share with you that I’m going to post it in three parts. Click on the titles of each article below so you can read each part of the interview:
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  • Interview – Part 1: "From the Edge"
  • Interview – Part 2: "Active Searching & The Value of the Prague Quadrennial"
  • Interview – Part 3: "A Ripple Effect."
  • -

    “From the Edge: Performance Design in the Divided States of America,” the USA national pavilion at Prague National Gallery

    From the Edge: Performance Design in the Divided States of America

    Reflections on curating and creating national expositions in an international art-based mega-exhibition in Prague
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  • Curatorial essay: "Exhibiting a country on the edge: a U.S. approach to performance design"
  • USA exposition returns from Prague: "American performing garage under the sign of Obama"
  • Prague diaries: "Philadelphia theater-makers talk about how performance design affected their works and processes."
  • Interview with curators: "Curators speak about the thrills, challenges and obstacles of staging national expositions of design."
  • -

    Praise and Commendations

    >> "A first-rate writer and editor. Randy Gener understands culture in the widest sense: as news, as art, as politics, as media," Margo Jefferson, Pulitzer Prize–winning writer.
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    >> "Mr. Randy Gener’s 'in the theater of One World,' a showcase of his own individual work, is taking up the slack that print journalism is leaving behind. You won’t find this in your local papers," Superfluities Redux.
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    >> "The visionary," Instinct Magazine.
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    >> "An internationalist, a champion of cultural exchange and dialogue," The New York Daily News.
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    >> "Randy Gener's command of theatrical subjects is unequalled among his contemporaries," American Theatre magazine/Theatre Communications Group.
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    >> "Randy Gener sheds light into censorship and repression of the arts," Judges of the Deadline Club Award, New York chapter of Society of Professional Journalists.
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    >> "Randy Gener is one of the most compelling voices of our era of globalization," Ioana Ieronim, author, poet and Fulbright Program Director of Fulbright Commission Romania.
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    >> "Gener draws our attention to largely ignored voices and visions on the international theatrical scene," Judges of the George Jean Nathan Award for Dramatic Criticism.
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    >> "Mr. Gener holds himself to a high standard in his long-form journalism — perhaps a model for young journalists," Superfluities Redux.
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    >> "Gener’s writing on theater, especially as it interacts with LGBT lives, is beautifully done, knowledgeable and almost lyrical in its language,” Judges of NLGJA Journalist of the Year.
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    >> "Randy Gener demonstrates the ripple effect that spotlighting artistic passion can have," Judges of the Deadline Club Award, New York chapter of the Society of Professional Journalists.
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    >> "Randy Gener's 'Love Seats for Virginia Woolf' is a meditative homage. Gener has staged his play with a subtle grace that complements the art objects' sedentary ingenuity. Never has Virginia's room of one's own been so suggestively furnished,” The Village Voice
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    >> "Gener's accumulation of words in his play 'Love Seats for Virginia Woolf' are the feathery evanescence of the butterfly's wings clamped together with the bolts of iron that are the four loveseat sculptures. The actors become words personified. I was left astonished,” The Virginia Woolf Miscellany of the International Virginia Woolf Society.
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    >> "His essays wed critical intelligence with a love of the telling and unruly fact," Judges of George Jean Nathan Award for Dramatic Criticism.
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    >> "Gener went above and beyond with regard to enterprise, resourcefulness and overcoming of obstacles in the pursuit of the story," Judges of Deadline Club Award, New York chapter of the Society of Professional Journalists.
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    >> "Randy Gener has been a tremendous asset to American Theatre ever since he was selected as a Jerome Foundation Affiliated Writer back in 1995-96, and especially since he joined the staff full-time in 2001," American Theatre magazine/Theatre Communications Group.
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    >> "One of the leaders of the Asian American community," The New York Daily News.
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    >> "In conferring the Pamana ng Pilipino (Legacy of the Filipino Nation) Presidential Award to Randy Gener, the President recognizes Gener's excellence in the field of theater arts and creativity, and diligence in promoting Filipino-American interests and accomplishments to mainstream audiences in Europe and the United States of America," His Excellency Benigno Simeon Aquino III, President of the Republic of the Philippines.
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    Biography

    Randy Gener is the Nathan Award-winning editor, writer, critic, curator, playwright and visual artist in New York City.
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    His conceptual installation, "in the garden of One World," debuted at La MaMa La Galleria in New York. He is the author of "Love Seats for Virginia Woolf," and other plays.
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    For his editorial work and critical essays as the senior editor of American Theatre magazine, Gener has received the George Jean Nathan Award for Dramatic Criticism, the highest accolade for excellence in dramatic criticism in the United States; the Deadline Club Award for Best Arts Reporting from the New York chapter of the Society of Professional Journalists; five media awards for excellence in travel-writing from the annual North American Travel Journalists Association Awards competition; and the NLGJA Journalist of the Year 2010.

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