Director Gregory Mosher quit the Broadway revival of Arthur Miller’s “All My Sons” (scheduled to open in the Spring) when Miller’s estate, run by his daughter Rebecca Miller, blocked him from casting a black actor to play George Deever, one of the main characters in the classic. Miller objected to the director’s choice of making the Deever family black when the play’s other central family, the Kellers, had already been cast as white. If the Deevers were black, it would introduce the concept of an interracial relationship in the 1940s.
“My concern was that to cast the Deevers as black puts a burden on the play to justify the relationship in the historical context,” Miller said “I was worried that it would whitewash the racism that really was in existence in that period by creating this pretend-Valhalla-special family where no one would mention this.”
Nice attempt to put her position in a politically correct context, I have to admit. The objection really is that the play is a period piece, firmly and unavoidably set in the post-World War II era. It will have period costumes, sets and props, and the audience seeing the story unfold in the proper historical time period is essential to the play’s success. An inter-racial romance shatters that illusion, and unnecessarily so. The play is not about race, so race should not be injected into the plot by reckless casting. Miller had previously approved of a production in which both families were black.
Interestingly, she also was willing to approve the casting of a black actor if his sister were cast as white. You see, then the casting would be “color blind,” meaning that it was just a black actor playing a white character (without white make-up, which would be “white-face,” which would suggest blackface, and—oh, never mind…), and that his family wasn’t really “black.” Got that? Otherwise, it would be “color-conscious” casting, in which the race of the performer necessarily requires a different approach to the material. Continue reading