casting ethics

“Too White A Christmas”: Additional Ethics Observations

/ Jack Marshall / 11 Comments

As promised, I am adding some of my own concerns to Curmie’s post two days ago on the controversy regarding the lack of “diversity” among the ensemble in a Sacramento production of the meh Broadway musical, “Elf.” I know many out there in EA Reader Land don’t give a rip about casting ethics. Ethics Alarms has posted on it often, because I believe, as with a lot of ethics issues in particular industries and areas of the culture, it has larger significance than only where the controversy arose.

Curmie covered most of the ethical issues in this kerfuffle well, as he always does, but I have some pointed conclusions that I think bear emphasis.

The whole episode illustrates what’s fatally wrong with DEI in general and the Left’s obsession with it. It has become an ideology unmoored to the real world. The mission of a theater director or producer must be, first and beyond all else, to put on the best production possible. We can argue about other priorities, but not that. Putting on the best production possible means, without exception, casting and staffing the production with the most talented, experienced, reliable professionals the production can afford. The entire discussion Curmie explores among four theater professional reveals the crippling mission confusion and ideological fanaticism that has infected if not most of the entertainment business, far too much of it.

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Curmie’s Conjectures: Too White A Christmas?

/ Jack Marshall / 8 Comments

by Curmie

[Curmie raises so many casting ethics issues that fascinate me in this post that I’m going to announce right now that I’ll post a veritable “Part II” tomorrow, although it will be “Jack’s Conjectures”, or something. Not that I disagree with anything the esteemed Ethics Alarms featured columnist writes here, because I don’t. Here’s a clue about one issue I’ll be covering which Curmie only hints at: for a cast to be sufficiently “diverse,” do the BIPOC members have to obviously LOOK like they are “of color”? I’m thinking of performers like Jennifer Beals, the late Olivia Hussey, and Jessica Alba—JM]

Jack and I exchanged a couple of emails about this story, which I first saw on the OnStageBlog back around Thanksgiving, when this was still news.  I’m pretty sure both of us wanted the other to write about it.  So, a little late, here we go…

The case involves the casting of the Christmas-themed musical Elf at Broadway at Music Circus in Sacramento.  OnStageBlog’s founder Chris Peterson often gets what Curmie’s grad school mentor would call “foam-flecked,” and his editorial here is no exception.  But he does have a point.  Sort of.

The company came under criticism when they announced the cast list for Elf; although a number of the leads were non-white, the entire chorus (seen above) looks pretty vanilla, white-passing if not literally white. Actress (or is she a “social media manager for major hotel brands”?) Victoria Price is one of those who led the charge, pointing to the difference between the Broadway ensemble and the one in Sacramento, and noting that any comments critical of the casting were being deleted.  (I assume she’s telling the truth about this.)

Tony nominee Amber Imam joined the fray, writing that Price’s criticism of both the casting and the removal of negative comments was “absolutely right.  A show that takes place in NEW YORK CITY cannot… CAN NOT have an ensemble that LOOKS LIKE THIS!!!  Do better.  Have you learned nothing?????”

The company’s CEO Scott Klier issued a response that made the situation much, much worse: “cover-up worse than the crime” worse.  Here’s part of it:

“Inclusivity has been and remains my casting and staffing goal for every production. I fell short of that goal for ELF. There is an uncomfortable truth here: Our industry as a whole has largely failed to attract, train and foster the artists necessary to meet today’s demand, and I fear this conversation will continue until it does. It will unfortunately take time. The painful reality of ELF’s casting process was that both the casting submissions and audition attendance revealed few candidates of color and, while those few were undoubtedly talented, they did not meet the dance, music and acting criteria set by our team.”

Hoo boy… Claiming inclusivity as a “goal” and then going 0-for-15 at fulfilling it?  Blaming other people while admitting the decision was yours?  Admitting there’s a “demand” and then ignoring it? 

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Look! Another Racial Casting Controversy!

/ Jack Marshall / 11 Comments

I love this one: it involves one of my favorite actors and one of my favorite historical figures.

Denzel Washington has lapped Sydney Poitier as the most successful and, in my view, most versatile and best black Hollywood star in film history, so one would think his casting to portray any historical figure would be seen as a boon to that figure’s fans. In this case, you would be wrong. Denzel is playing the Carthaginian general Hannibal in a Netflix historical epic, and Le Monde reports that in Tunisia, Hannibal’s old stomping ground, Hannibal’s admirers are furious. The casting has even been debated in the Tunisian parliament. Tunisian MP Yassine Mami railed about “the risk of falsification of history” while calling on members to join him in “defending Tunisian identity”.

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“Dr. Who” Ethics: Isaac Newton Was Indian? I Did Not Know That!

/ Jack Marshall / 13 Comments

In the latest “Dr. Who” adventure on the BBC (if you don’t know about this long-running cult scifi show, google it), Sir Isaac Newton is played by an actor of Indian heritage:

This raises several issues, most of which Ethics Alarms has delved into before:

1. Does it matter? As Curmie declared in his Comment of the Day regarding my post about another BBC production in which Anne Boleyn was played by a black actress…yes, it does, but it depends on the context and the objective of the casting. The major consideration in any non-traditional casting is whether it works, meaning that the casting isn’t distracting, that it adds something to the work beyond being just a gimmick. (The black Anne Boleyn was a gimmick.) In Curmie’s opinion, almost nobody was likely to see the black actress in the role and think, ““I didn’t know Anne Boleyn was black.” I am less certain of that assumption in the case of a brown Isaac Newton.

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More Weird Tales Of “The Great Stupid”: One “Jewface” Casting Controversy Wasn’t Stupid Enough; Woke World Insists On Another One

/ Jack Marshall / 7 Comments

The most recent nut-ball casting ethics lunacy that finds something anti-Semitic about prosthetic noses makes my brain hurt. It is such fanatic political correctness and woke “gotcha!” extremism that led to this recent post, in which I mused about owing vile radio talk show host Michael Savage an apology for condemning his claim years ago that liberalism is a mental disease.

Everything I wrote about the complaints that casting eminent non-Jewish actor Bradley Cooper as composer Leonard Bernstein and having him wear make-up (including a fake nose) to look more like Bernstein applies to the wacko criticism of casting Helen Mirren as Golda Meir in “Golda” (that’s Hellen on the right above) and having her outfitted with a big nose. In fact, you could just read the Bernstein post substituting “Golda Meir” for “Leonard Bernstein” and “Helen Mirren” for “Bradley Cooper.” In fairness, Mirren requires more make-up than Cooper because she is an attractive woman, and Golda was anything but (big nose notwithstanding, Lenny was a handsome man), and it would take a prosthetic nose to make almost any actress be a credible Golda Meir on screen. Mirren is perhaps the most distinguished actress in her age range right now, and a complex and historic figure like Meir deserves no less for her film biography. Never mind, though: what matters in these days of woke madness isn’t good acting or good movies, but racial, ethnic and gender spoils, all executed with the integrity of Calvinball.

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Insufficient Mockery Alert #1: The “Jewface” Controversy

/ Jack Marshall / 14 Comments

Jonathan Turley likes to begin his posts on oft-visited topics (like speech suppression on progressive college campuses) by reviewing all of his past posts on the matter. If I started this post like that and listed all of the ridiculous, hypocritical, wokey, DEI-inspired casting ethics controversies EA has highlighted, there would be no room for the post itself. But I will supply a sampling…

Let’s see: a black actress can play Anne Boleyn, and James Earl Jones can play the Celtic King Lear, but a white actor is engaged in racism by playing Othello. Hmmm. Gay Hollywood actors (most of them are, after all) can play straight characters, but Tom Hanks apologized for playing a gay character (and winning an Oscar for it) in “Philadelphia.” Lou Diamond Phillips simultaneously asserted that as a Filipino actor he is entitled to play anyone—after all, he has made his living playing Hispanics, South Americans and Native Americans— then in the same interview said “I happen to agree that casting Caucasian people in what are supposed to be ethnic roles is not kosher.”

Yes, it’s Calvinball! The minority communities, supported by progressive DEI fanatics, make up the rules as they go along—whatever keeps whites, heterosexuals and non-disabled actors out of roles. Back in 2019, I designated this “the dumbest casting controversy yet”: that was when Bryan Cranston was criticized for playing a quadriplegic without being actually paralyzed from the neck down. Well, the DEI maniacs have gone way, way beyond that, and conveniently, the most recent ridiculous Calvinball installment is relevant to today’s nonsense.

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I Know It’s Too Easy But I Can’t Resist: “An Irish Actor Playing Oppenheimer Proves Once Again That Jews Don’t Count” May Be The Most Hilariously Confused Casting Ethics Rant Yet

/ Jack Marshall / 29 Comments

There is only one ethical way to cast a play, musical or movie: pick the actor whose portrayal will most entertain the audience and realize the full potential of the script. Casting is not the place (if anywhere is) for political correctness, quotas, “diversity,” or affirmative action.

Ethics Alarms is full of discussions of this issue, most recently here, in the post just last week about how Disney decided it was offensive to cast seven little people as the Seven Dwarfs in “Snow White and the Seven Dwarfs.” Hollywood and Broadway are completely confused and hypocritical in this area, because the people who run both places are 1) desperate to be seen as progressive and to signal their virtue at every opportunity, 2) terrified of being branded as non-woke, giving extreme activist groups representing various tribes and interests groups the upper hand in their bullying efforts, and 3) not very bright, frankly.

This is why a Samoan-African American actor was found insufficiently black to play folk legend John Henry, but a black woman was cast as red-headed fish-girl Ariel in “The Little Mermaid,” and the Founding Fathers ended up being portrayed by black, Asian, and Hispanic women and “non-binary” performers in the revival of “1776.” Tom Hanks now says only gay actors should play gay characters, but a director who refused to cast a gay actor as a non-gay character would be run out of the business. It is, as I have written here before, Calvinball.

All of which brings us to the head-exploding essay by Malina Saval, editor in Chief of Pasadena Magazine, titled “An Irish Actor Playing Oppenheimer Proves Once Again That Jews Don’t Count.”

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Saturday In The Great Stupid Continues: The “Waiting For Godot” Catch-22

/ Jack Marshall / 7 Comments

I love this dispatch from The Great Stupid! It has everything…

  • It involves a theater production…
  • It’s woke academia at its worst…
  • Copyright and artistic integrity principles are at issue..
  • Diversity, Equity and Inclusion mania is at its core…
  • It’s another “It isn’t what it is” (Yoo’s Rationalization) classic….
  • It didn’t happen here, but I could easily see it happening here, and…
  • It’s really, really, really stupid.

A bit of background: Samuel Beckett, the late Irish novelist and playwright of Theater of the Absurd fame ,best known for his minimalist drama and “Waiting For Godot” in particular, was a cantankerous old coot who didn’t trust directors (with good cause, say I), and directed them in his texts to change neither lines nor character, or risk legal action. Edward Albee was similarly strict on this point, having seen what happens to plays in the public domain (like Shakespeare’s works) when far less talented “artists” decide to make them “relevant.” So if you are going to produce a Beckett play, it’s Beckett’s way or the metaphorical highway.

Oisín Moyne, a fellow countryman of Beckett, was directing “Waiting for Godot” in the Netherlands and auditioned only men for the all-male cast of characters, as he was legally and artistically obligated to do. the college production been in rehearsals since November and was due to be presented at the University of Groningen’s Usva student cultural center in March. (Don’t ask me how or why it would take more than three months to rehearse this play, which primarily involves two guys sitting around talking, but never mind.) Continue reading →

Latest Development In The Search For The Greatest Stupid During The Age Of The Great Stupid: On Broadway, A “Good Racism” Classic!

/ Jack Marshall / 11 Comments

I have come to the realization that those apathetic, half-awake Americans who shrug off the creeping fanaticism of the antiracism, “diversity, equity and inclusion” mob must not follow developments in the show business and entertainment world, for there the most throbbingly stupid and hypocritical outbreaks of The Great Stupid inevitably occur.

Last month, the ridiculous non-traditional casting version of “1776” opened. Ethics Alarms has discussed it a couple of times: the conceit of casting the Founding Fathers as female, non-binary, trans colonials of color is a naked “Hamilton” rip-off that mocks the show and our history for political grandstanding. As anyone could have predicted, it stinks, though the naturally sympathetic and woke theatrical critic community didn’t have the guts or integrity to say so outright. No, most of them just issued mealy-mouthed deflections like the Times critic, who wrote in part after delivering the mandatory “what a good idea!” virtue-signaling about what was always, absent a miracle, a wretched idea…

….the performances are so vastly histrionic and unchecked by the social situation (this is Congress, after all) that they seem inside-out….It does not help that the new arrangements and orchestrations, aiming to refresh the songs’ profiles in the way the casting is meant to refresh the story, merely make them muddy — and make many of the lyrics unintelligible….

When performers mime the emotions we should be having, the storytelling contract has been broken….What a wasted opportunity!…Instead we get subtracted value. I don’t mean for the cast, who deserve the opportunity, or even for the theater as an industry and an ecosystem….But underlining one’s progressiveness a thousand times, as this “1776” does, will not actually convey it better; rather it turns characters into cutouts and distracts from the ideas it means to promote…. theater makers should have enough faith in the principles of equity and diversity to let them speak for themselves. Are they not, as someone once put it, self-evident?

But of course equity and diversity are not self-evident, and the complete confusion over casting ethics demonstrates this fact beautifully. Let’s see: BIPOC performers can be cast as anyone, regardless of color, ethnicity, gender or race, but white performers can only play white characters. Turning a white fictional character black is to be desired whenever possible (Tangent: My CVS is filled with black Santa dolls and images. Where are the Hispanic and Asian Santas?) but making a fictional character of color (a FCOC) white is “white-washing,” and racist. “The Simpsons” won’t allow white vocal actors to do the voices of a black doctor or an Indian 7-11 owner, but Will Smith can voice a Middle Eastern genie without controversy. Ariel the Little Mermaid will be sung by a black actress; true, they turned Arial black first, but don’t think the same actress wouldn’t  have voiced her if they hadn’t: Diversity! Inclusion! Meanwhile, Tom Hanks said it was wrong for him to be cast as a gay man, though gay men portray about 50% of all the heterosexuals you see on screen and stage.

Clear? Of course not! These aren’t rules or principles: this is racially motivated Calvinball, compensatory racism and related discrimination under the cloak of imaginary virtue.

And yet we hadn’t reached peak stupid yet. Is this latest episode it? Probably not, but behold: Continue reading →

Today’s Dumb Woke Hollywood Casting Question: “Why Does Hollywood Keep Using Fat Suits?” [Corrected]

/ Jack Marshall / 5 Comments

The New York Times today decides to try a new frontier in the woke casting double standard adventure—you know, the incoherent theory that minority actors should be considered for all roles and all character types regardless of sex, race, size or physical characteristics, but it is unethical for white performers to play any character that they have to act and use make-up to evoke. You know, like good Hollywood liberal Tom Hanks claimed when he issued his recent  mea culpa for playing a gay, AIDS battling lawyer in “Philadelphia.”  So, using the same logic, Tom must have been equally hostile to “diversity, equity and inclusion” when he took a role away from some brilliant, unknown actor with a 75 IQ to play Forrest Gump, just as an autistic actor should have starred in “Rain Man” instead of Dustin Hoffman.

Suuuure. But I’m getting ahead of myself. The Great Stupid often has that effect on me. Sorry.

The Times’ query, in the headline to a column by Arts Section pundit Farah Fleurima, is “Why Does Hollywood Keep Using Fat Suits?” Gee, it’s a mystery! And come to think of it, why does Hollywood keep using make-up? Special effects? Fake blood?

Here’s a much tougher question: why does the New York Times let people who know nothing about performing, entertainment, business, audiences, comedy, and casting write columns like this? Continue reading →