Rewriting the Classics for a New Generation
As a theater educator, I’ve always been passionate about the power of musical theater to bring people together and tell stories that reflect the diverse experiences of our communities. But, let’s be honest – when it comes to the “Golden Age” musicals of the 1940s and 50s, there’s often a glaring lack of diversity and representation on stage.
The 2016 Broadway season was a watershed moment, with African-American actors sweeping the major acting categories at the Tony Awards. This historic moment showed that commercial theater was finally embracing more inclusive casting that mirrors our audiences and reflects the world we live in. But the challenge remains: how do we honor the classic works of Rodgers and Hammerstein, Lerner and Loewe, while also addressing the outdated stereotypes and biases that are often baked into the scripts?
Navigating the Minefield of “Non-Traditional” Casting
As a theater director, I’ve grappled with this dilemma countless times. The term “non-traditional casting” has been the go-to label for decades, but it’s a bit like navigating a linguistic minefield. Some prefer “color-blind casting,” which implies we can simply overlook physical appearance, while others argue that “inclusive casting” or “realistic casting” are more accurate. Regardless of the terminology, the core issue remains the same: how do we create casting choices that challenge the status quo without disrespecting the original creative vision?
In my recent university production of the quintessential “Golden Age” musical, “Guys and Dolls,” I tried to strike a balance. Sure, we made some non-traditional casting choices – a female gambler, an interracial romantic lead, a Hot Box duo that defied gender norms. But the goal wasn’t to simply check diversity boxes. Rather, we wanted to create a world that felt authentic and relevant to our contemporary student audience, while still honoring the iconic characters and beloved score.
Confronting the Uncomfortable Truths
One of the biggest challenges, of course, was confronting the inherent misogyny and racial insensitivities in the script. The Havana scene, where the prim and proper Sarah Brown is pressured into drinking and letting her hair down, was a prime example. Instead of simply glossing over this problematic moment, we worked with our student actors to reframe it. Sarah made the conscious decision to indulge, transforming her “If I Were a Bell” number into a joyful, empowered celebration of self-discovery.
Similarly, the actor playing Sky Masterson didn’t shy away from his character’s more condescending and arrogant attitudes towards women. Instead, he leaned into those traits, allowing the audience to wrestle with the discomfort of witnessing such behavior. It was a delicate balance, but one that ultimately sparked meaningful dialogue about the societal norms of the era and how far we’ve (hopefully) progressed.
Embracing Disability and Gender Diversity
Another important aspect of our production was the inclusion of a student actor with registered disabilities in a principal role. While the expectations were the same for everyone, we worked closely with our campus Disability Services office to ensure this actor had the support they needed to succeed. And succeed they did – their performance was a revelation, both to the cast and the audience.
Gender diversity was also a key focus. In addition to the female gambler, we had a homosexual Hot Box couple and a leading lady who towered over her male counterpart. These choices weren’t meant to be gimmicks or distractions; they were simply reflections of the world we live in, where the binary boundaries of the past are being challenged and rewritten.
Educating, Not Erasing
As theater educators, we have a responsibility to introduce our students to the full canon of musical theater, warts and all. The “Golden Age” musicals may be relics of a bygone era, but they still have so much to teach us – about storytelling, character, and the power of music to transport us. The key is to approach these works with a critical eye, acknowledging their flaws while also seeking opportunities to reframe and reimagine them for a new generation.
At our musical theater education and performance center, we strive to create an environment where diverse voices are celebrated, where the stories we tell on stage reflect the richness and complexity of our communities. It’s a never-ending journey, to be sure, but one that fills me with hope and excitement for the future of this art form we all love.
So, the next time you find yourself grappling with the challenge of reviving a “classic” musical, remember: embrace the discomfort, seek out collaborators with different perspectives, and never be afraid to rewrite the script. After all, the true magic of theater lies in its ability to evolve, to surprise, and to inspire us to see the world in new and unexpected ways.
