More than a decade ago, while I was the artistic director for a Northern Virginia professional theater I had co-founded, I offered the greater D.C. theater association a draft ethics code that I had developed after I realizes that the ethics alarms of the typical area theater professional were approximately the same as those of the average drug cartel boss. The response was telling: I received a formal thank-you, but was told that the theater community had no interest in ethics, and had done just fine without any code.
This attitude is not unique to Washington D.C. and environs, or regional theater. Performance artists generally and across all levels and regions tend to be incompetent at ethical analysis, and their ethics alarms aren’t merely dysfunctional, they are warped.
From the world of professional performing, for example, we have this controversy, arising from the announcement that actor James Franco (far left), a Portugese-Swedish-Jewish American, has been cast as Fidel Castro in a film project, and celebrated Hispanic actor John Lequizamo (on the right) was outraged over the casting choice. “How is this still going on? How is Hollywood excluding us but stealing our narratives as well?” Leguizamo wrote. “No more appropriation Hollywood and streamers! Boycott! This F’d up! Plus seriously difficult story to tell without aggrandizement which would b wrong!”
As you can see, the actor was so upset that he lost the ability to communicate in coherent English.
Ethics Alarms 