Broadway

Casting Ethics: A Black Joan Of Arc?

/ Jack Marshall / 23 Comments

Sure, why not?

From Playbill:

Manhattan Theatre Club has announced a Broadway revival of “Saint Joan” by Nobel Prize and Oscar winner George Bernard Shaw with direction by Tony winner Daniel Sullivan. Heading the cast as the famous heroine will be Condola Rashad, fresh off her Tony-nominated performance in “A Doll’s House, Part 2.”

Superficially, at least, the casting of Rashad, an African American actress, as the famous “Maid of Orléans,” the French teenager who gained political and military power as a self-proclaimed messenger of God and who was burned at the stake, would seem like precisely the kind of stunt non-traditional casting that I have condemned by subjugating the intent and art of a playwright to affirmative action and virtue-signaling. However, this is not a legitimate objection to this casting choice, and in fact the upcoming Broadway production is as close to a perfect example of how creative casting can enliven a production and deepen its ability to make an audience think.

Joan of Arc, of course, was not black. Nor was she Swedish, though Ingrid Bergman played her memorably enough in the most famous Hollywood version of  Shaw’s play, She also didn’t speak English, and certainly not Shavian English. She spoke French. Ethnicity, race and color are not part of Shaw’s drama, however, nor are they relevant to what Joan of Arc did in life, and what she meant to her nation, its history and our shared Western culture.

How many public schools teach anything about Joan of Arc? How many U.S. students graduate completely ignorant of the historical Joan, not to mention Shaw’s version? Yet hers is one of the most remarkable stories in recorded history.

Joan of Arc was born around 1412, the daughter of a tenant farmer, Jacques d’Arc, from the village of Domrémy, in northeastern France. She was illiterate, as were most  of her class and gender, but also was indoctrinated into the teachings of the Catholic Church by her mother.  France was engaged in what we now call the Hundred Years’ War with England, and England had France by the throat.  A forced  treaty in 1420 disinherited  Charles, French crown prince, and England’s King Henry V—there’s a famous play about him, too– was made ruler of both England and France. Upon his father’s death, Henry VI succeeded him as king in 1422. At this point England occupied much of northern France, and many in Joan’s village, Domrémy, were forced to abandon their homes under threat of invasion.

Thirteen year-old  Joan began to hear voices in her head. Today we think the cause was tinnitus, but she was certain God was assigning her the mission of  saving France by defeating the English, and installing Charles as its the rightful king. Joan took a vow of chastity, as part of her bargain with God; this allowed her to reject a marriage her father arranged for her when she was 16.

Around this time, Joan traveled by herself to  Vaucouleurs, a nearby stronghold of those loyal to Charles. With her faith and her persuasive claim of being a holy messenger, she attracted a small band of followers who were convinced her sudden appearance was the the result of a popular prophecy coming true, and that she was destined to save France. Joan cut her hair short and dressed in men’s clothes to make an 11-day journey across enemy territory to Chinon, where the crown prince’s palace stood. She met with the young man, and convinced him that she was the Real McCoy (they didn’t use that phrase in France, of course)  by allegedly telling him things only God would know. She also  promised Charles that she would see him crowned king at Reims, the traditional site of French royal investiture, and asked him to give her an army to lead to Orléans, then under siege from the English.

Charles granted her request. Think about this for a bit. A strange teenage girl, dressed like a boy and claiming to hear voices, meets with the leader of a nation at war and convinces him to put her in charge of an army.

Amazing. Continue reading →

Morning Ethics Update: 8/10/17

/ Jack Marshall / 76 Comments

Good Morning!

1. Less than two weeks after social justice bullies on social media chastised actor Mandy Patinkin for agreeing to take the place of a black actor in Broadway’s “Natasha, Pierre & The Great Comet of 1812,”  causing the politically impeccable Mandy to withdraw with humble mea culpas, and the “woke” creator of the  the Tony winning musical to humbly kowtow to the new show business principle that it is better for a show to close entirely, putting everyone out of work, than for a white actor to take over a role from a black actor who took over the role from a white actor in the first place, “The Great Comet’s” producers announced that the show will close in September.

Good job, everybody!

Morons.

2. First Amendment incursions are creeping in from all sides and all angles so fast it’s hard to slap them down. Cowboy Joe West, the major leagues’ longest-serving umpire,was just suspended for three days for comments he made a in an interview with USA Today published on June 20, to mark   the umpire’s 5,000th regular-season game. Asked which player beefed most frequently about his calls, West said “it’s got to be Adrian Beltre.” Beltre, who recently punched his own ticket into the Hall of Fame by getting his 3000th hit, is apparently something of a human Bermuda Triangle for ethics controversies.

“Every pitch you call that’s a strike, he says, ‘Whoa! Whoa! Whoa!,'” West was quoted as saying.  “I had a game with him recently and the pitch was right down the middle. He tells me, ”That ball is outside.’ I told him, ‘You may be a great ballplayer, but you’re the worst umpire in the league. You stink.'”

MLB suspended West for three days, telling the umpires union in a letter that the discipline was in response to an “appearance of lack of impartiality.” Beltre has said that he never assumed West was being anything but facetious. The umpires union is livid, and West is likely to file a grievance.

There are two theories about this strange episode in the Marshall household. I think it’s more evidence of slippage on the societal slope to speech suppression. My wife thinks baseball is laying the groundwork for replacing umpires on balls and strikes with robo-calls. After all, robots aren’t biased.

I hope she’s right, but I doubt it.

3. Why don’t Democrats want to clean up eligible voter rolls?the Justice Department filed a Supreme Court amicus brief  supporting the state of Ohio as it fights to defend its law that purges names from voter rolls if  those names aren’t attached to votes for a significant period. This reverses the Obama Administration’s position, which backed a lower court decision  that it ran afoul of the 1993 National Voter Registration Act.

Why does Ohio want to de-register voters who don’t vote for two years, then are sent notices asking that they confirm their voter registration, don’t respond to the notices ,and continue to not vote for another four years? I assume it is because the state doesn’t want dead people on the voter rolls. Why do Democrats want the names of dead people listed as eligible voters?

I’ll leave that to your imagination… Continue reading →

Political Correctness, Race-baiting Social Justice Warrior Bullies And A Gutless Star Collaborate To Kill A Hit Musical

/ Jack Marshall / 20 Comments

…and the show’s creator is fine with this. After all, it’s for a good cause, the good cause apparently being the elevation of race grievance politics above art, commerce, fairness and common sense.

Bear with me now, as you strain to comprehend this apotheosis of progressive cant gone stark, raving mad:

Josh Groban (a talented performer who is white)…

 

leads “Natasha, Pierre & The Great Comet of 1812,” to 12 Tony nominations. He is replaced by the talented “Hamilton” alum Okieriete “Oak” Onaodowan (who is black),

but the show’s box office drops like a stone once Groban leaves the  cast. Thus Oak is scheduled to leave the cast in August. Mandy Patinkin (who is a Tony award winner, a musical theater icon, a bigger star than either Groban or Onaodowan, and who is, incidentally, white)

…was hired to replace him. Ticket sales rebound at the news. But crazed, social justice warrior race-baiting bullies on social media attack Mandy for “taking away the job of a black actor.” Continue reading →

Hillary Gets A Standing O On Broadway

/ Jack Marshall / 21 Comments

standing-o

Well, good.

Last night, Hillary, Bill and Chelsea Clinton attended the closing performance of “The Color Purple” on The Great White Way. The audience gave Hillary a standing ovation.

This profoundly annoyed the conservative media and blogosphere, which contrasted the warm reception with the booing Vice-President-Elect Pence when he want to see “Hamilton” just down the street. It was a contrast, all right: the audience at “Hamilton” were rude jerks, and the audience at “The Color Purple” treated Hillary Clinton like every audience of fair and respectful citizens should treat anyone willing to endure the rigors and abuse of a Presidential campaign for the privilege of being burdened by one of the most difficult and all-consuming responsibilities on earth, in order to serve and protect the United States of America.

Kind and respectful gestures are never unethical.

I would have stood.

I Can’t Decide Which Is Worse, That “Hamilton” Is So Greedy, Or That They Won’t Admit It

/ Jack Marshall / 28 Comments

 

Hamilton

 

Producers of the smash hit Broadway musical “Hamilton,” soon to sweep the Tonys in historic fashion, have raised the top premium seat price to a record-obliterating $849.

The previous high for Broadway show’s ticket prices was $477 for the best seats to “The Book of Mormon.” The producers are taking advantage of the fact that the show has reached mania status, something like the Dutch tulip craze. Waiting lists for tickets are months long. The show is a cultural phenomenon, but it is still a show.

This musical, reinventing the genre with a hip-hop score and an intelligent, challenging book, could be that rarity, a popular musical that matters, and one that draw young…even straight!…young people back to a genre that has been rapidly declining and increasingly irrelevant to modern popular culture. So given that opportunity,and already making money hand over fist, what does the production do?

Raise tickets to an obscene level. Ensure that the tickets to other shows will rise too. Make live theater, which is already too expensive for any family to attend not named Pritzger or the equivalent, even more elite and even more inaccessible to normal, working Americans. Continue reading →

Audience Ethics And Ethics Dunce Kelvin Moon Loh

/ Jack Marshall / 24 Comments
"I hear child screaming in audience, so audience cannot hear King. Is a puzzlement! But brave..."

“I hear child screaming in audience, so audience cannot hear King. Is a puzzlement! But brave…”

I don’t want to be harsh, because Mr. Loh is obviously a sensitive and compassionate young man who means well. However, he is also receiving plaudits on Facebook and in the media for taking a position that is not ethical, and is in fact just more political correctness guilt-mongering and double standard-peddling. It is also likely to provoke disrespectful and arrogant parents to believe that they have a right to impose their problems on unsuspecting theater audiences.

At  Broadway’s Vivian Beaumont Theater, a screaming child disrupted a matinee performance of “The King and I.”  Some members of the audience agitated for the child to be removed, and the woman with the child indeed left.

One of the understudies in the production, Kelvin Moon Loh, defended the woman who brought the child to the performance in a post on his Facebook page, in which he assumed the kid was autistic and used the incident to argue for compassion and “inclusiveness” in the theater, and compassion.  Loh actually praised the woman as “brave.” Brave she may be; she also was selfish, irresponsible, disrespectful and absolutely wrong.

This is not an issue of tolerance. This is not an issue of compassion. The ethical issue is whether one person has a right, and can be right, to ruin a theatrical performance for the rest of the audience, or to unreasonably risk doing so. It’s an easy call: no.  Never. It is no more “brave” to take a child who cannot behave properly to a Broadway show (or any show) than it is to take a cranky infant to a movie. This is not like the airplane situation, where the mother has no choice, and the child’s noise doesn’t interfere with the flight’s main purpose, which is to get to the destination. The mother doesn’t have to see “The King and I,” nor does she have to bring her child to potentially disrupt it. Doing so is inconsiderate; defending her conduct, as Loh does, stands for a kind of etiquette affirmative action, in which being the mother of an autistic child relieves one of any obligation to care about anyone else. Continue reading →

KABOOM! The Dumbest, Most Unethical Broadway Audience Member Ever

/ Jack Marshall / 11 Comments

exploding_head

This, among other reasons, is why I am leaving professional theater while I still have a head left.

In the middle of a performance recently, a Broadway audience member crawled up onto the realistic set of Broadway’s hit comedy, “Hand To God,” to charge  his cell phone using the realistic but non-working outlet on stage.

And yet there are people who oppose capital punishment….

The blog where I learned of this incident asks, “Sometimes, I wonder, is live theater is dying because the audiences are getting dumber every day?”

Yes.

______________________

Pointer: John Geoffrion

Now THAT Was A Rape Culture…

/ Jack Marshall / 65 Comments

I just happened to be surfing past the  Broadway Channel on Sirius XM, and found myself startled at the tone of the lyrics of that Hit Parade smash from the 1956 musical, “The Most Happy Fella,” by the great composer/lyricist Frank Loesser, “Standing on the Corner (Watching All The Girls Go By)”—especially at the end:

Saturday, and I’m so broke
Haven’t got a girl, and that’s no joke
Still I’m living like a millionaire
When I take me down to Main Street and I review the harem parading for me there..

Standing on the corner watching all the girls go by
Standing on the corner underneath the springtime sky!

Brother, you can’t go to jail for what you’re thinking
Or for the “Woo!” look in your eye
You’re only standing on the corner watching all the girls
Watching all the girls, watching all the girls
Go by!

Nobody saw anything wrong with these sentiments in 1956. It was fun, it was cute, it was innocent! A bunch of guys hanging out, leering and ogling women as they walked on the sidewalk, with “woo”—that is, lust— in their eyes and illegal thoughts in their brains, and periodically wolf-whistling at “the harem.”

Sometimes we forget—sometimes women especially forget—that our culture’s ethics regarding sexual etiquette and respect does advance, and has, as much as self-serving activists would have us believe otherwise.

 

The Wall Street Journal’s Uncultured Culture Critic

/ Jack Marshall / 6 Comments
Joanne Kaufman was here...

Joanne Kaufman was here…

In a jaw-dropping essay for her employer, The Wall Street Journal, alleged culture critic Joanne Kaufman proudly and candidly disabuses readers of any misconceptions they might have had regarding her qualifications for her job. She is not merely unqualified, but willfully, shamelessly, spectacularly unqualified. In a smug screed in which she admits to habitually walking out on Broadway shows at intermission, Kaufman reveals herself as lazy, arrogant, disrespectful of artists, and most crippling of all, to be afflicted by the attention span of the average Twitter addict.

“Don’t ask me what happened during the second acts of “Matilda,” “Kinky Boots,” “Pippin” and, reaching back a few seasons, “Boeing-Boeing” and “Billy Elliott, ”  Kaufman boasts.  “Really, I have no idea. But I am nothing if not cosmopolitan in my tastes, or distastes—French farces, English musicals set in gritty industrial cities, and American entertainments involving Charlemagne ’s Frankish kin.”

You can read her entire piece here; if the Journal doesn’t fire her, it is run by fools. “I’m of the “brevity is the soul of wit” school and of the belief that only a few bites are required to determine that you just don’t like a particular dish,” she happily admits. “My ideal night in the theater runs 90 minutes without an intermission (it is best not to put temptation in my path), which means that Shakespeare and I don’t tend to see a lot of each other.” This is the culture writer, remember. Yet she is admitting to membership in the lazy, sound-bite, bumper-sticker, multi-processing, distracted, ADD-addled public that has caused writers, playwrights, producers, book publishers, film-makers and song-writers to dumb down, redact, trivialize and simplify entertainment in an accelerating death cycle: plots don’t make sense, explosions start early, subtlety is forbidden, and no issue, thought or topic that can’t be fully explored in the time it takes to do a load of laundry is going can find its way on stage or screen. The Journal’s culture writer doesn’t have the time or interest to sit through King Lear, Hamlet, The Ice Man Cometh, or Death of a Salesman,  or to view all of “Seven Samurai,” “A Man for All Seasons” or “Gettysburg”—hey, a movie about one of those short Civil War battles for Joanne, please: she’s got a 15 minute segment of “Robot Chicken” to catch. Continue reading →

Geoffrey Holder Died, And Most Americans Don’t Care. There Is A Problem.

/ Jack Marshall / 40 Comments

Does the name Geoffrey Holder mean anything to you? It probably doesn’t. He died this week, at the age of 84, and his passing received less media attention than the death of Paul Revere, of the cheesy Rolling Stones-lite 60’s rock band Paul Revere and the Raiders, and wasn’t within light years of the orgies of sorrow lavished on the passing of Joan Rivers and Robin Williams. hundreds of thousands of Americans, especially African-Americans, wear jerseys honoring NFL wife beaters and child-batterers, who would have crossed the street to shake Geoffrey Holder’s hand or get his autograph.

Boy, are American values screwed up.

Let me tell you about Geoffrey Holder, one of my heroes. Continue reading →