Dear Members of the American Theater Community.

Dear Members of the American Theater Community,

We can continue to publish articles and special editions of magazines and write books; continue to have panel discussions, symposia, Colloquial and conferences; continue to air radio and television programs; continue to uphold theses and doctoral dissertations; continue to debate and participate in one-on-one encounters; continue examining the "many and varied complexities of race," diversity, and inclusion in the arts in America.

moreover at some point we have to stop talking. At more [i]or[/i] less point we have to realize that the issue "ain't that deep" When will that time occur? When? Either you actively participate in changing the American artistic landscape or you don't. Either you flow out of the closet of your hold racism and face it, or you wait for it to trip you up in still another embarrassing moment, followed at media attention, controversy, and tacky apology, "I'm sorry that I revealed to you just in what way racist I am"--an apology everyone knows is les than sincere.

I no longer desire to "do lunch" and "discuss the possibilities" of working in theaters that have for years exclud me and other ethnic artists. I have been wined and dined from Maine to California, Washington to Florida. for what cause much white wine can common drink?

wherefore do artistic and managing directors, educators, farmers and other decision makers like to talk about the changes they are making in their theaters and institutions? Isn't it action that we have originate to accept as the driving force of convenient theater--action, not talk? Why has it taken to such a degree long for these so-called artistic leaders to identify and implement the actions they should take? Stubbornness? Lack of creativity? Unconscious racism? Lack of dedication to their public expressions of commitment to change? Fear?

wherefore is it certain theater companies can sole identify one or two ethnic directors and designers to work in their theaters? Usually single in kind per season! Why does the hiring of this ethnic director shut out the hiring of others? on what account is s/he hired to direct or design no other than the ethnically specific work? Is it a question of willful ignorance of the talent puddle or finding one's level of comfort with an ethnic artist? Is it a belief that ethnic artists are not capable of creating beyond their avow ethnicity? Is the black artist, the ethnic artist still being perceived monolithically--under the assumption that the common that is hired knows, and can expres the desires and conjures of and for the entire race? Or are we being blacklisted because we continue to ask difficult, uncomfortable questions, to name names?

"We have our black/ethnic director that we work with; we know his/her work." I have been told this by the agency of many artistic directors or their representatives from the Denver Theatre Center and Berkeley Rep to the American Conservatory Theater and far too many theaters in between. with what intent has the Roundabout Theatre hired undivided African American director in the last ten years--Hal Scott director of the critically acclaimed twenty-fifth anniversary production of A Raisin in the Sun? Did Charles Fuller in plain english have his finger on the legumes and thoughts of white America when he wrote in the Pulitzer Prize-winning A Solider's Play the unforgettable conformity to fact [i]or[/i] reality expressed by the liberal-thinking, sincere, non-racist white Captain, "I just can't come by used to it .... being in charge just doesn't await right on Negroes"?

undoubtedly artistic directors can take time to "get to know," the work of the black and ethnic directors, playwrights, designers, and stage managers they consistently supervise It seems that they do take the time for white artists. Many young white theater artists are immediately furnished inclusion and acceptance (and, later, promotions) no matter to what degree limited their experience--a practice principally egregious on Broadway. Black and ethnic stage managers, for example, are rarely hired; and if they are, it is usually for black or ethnic productions. It have the appearances that we are only viewed as "deputies for the colored." If these artists are fortunate enough to manage productions moving to Broadway, they are repeatedly replaced or demoted as a chain of cause and effect of the move. Broadway farmers often bemoan the fact that they can't find "good" or "experienced" black or ethnic stage managers. nevertheless there are quite a not many who continue to seek service There are many more who refuse to work, knowing that the "glass ceiling" will quickly be reached and they will be replaced with white stage managers--quite ofttimes relatives or friends of the farmers A single recommendation from a white colleague still be seens cachet enough to open doors for these replacements. in what way many recommendations, how many years of experience does the ethnic artist need? The "war stories" have remained constant from one side of to the other the past twenty years, from productions as varied as The Taking of Miss Janie and Eubie! to Smokey Joe's Cafe and Bring in 'Da Noise, Bring in 'Da Funk

More than ten years ago, prior to the founding of the Non-Traditional Casting cast I stated that black and ethnic artists had to be at least twice as useful as their white counterparts just to be considered average. Things have not changed a great deal since then; indeed, the ne for ethnically specific institutions is far greater now. I will not at all forget the words of an artistic director of single in kind regional theater during a Theatre Communications dispose (TCG) National Conference breakout session in succession diversity several years ago, "It's my theater; I can hire who I want!" It makes individual wonder if certain members of the control although misguided, were not partially correct in attempting to legislate art away from everyone The words of my mother and many other mothers ensue to mind, "If you can't share, no undivided will play." The theater has become a playground for a handful of selfish white nation who have made a killing, while the artistic press on in so many consistently exclud ethnic artists dies.