Casting

Jonna Capone discusses her experience as a plus-size actress and the body positive movement, advocating for better representation of body sizes on stage. 

Abbey Fenbert examines the intersection of theatre and physical discrimination, and considers what is the responsibility of artists interested in transcending, rather than reinforcing, the myths society projects upon the body?

Kicking off #IdentityWeek, Playwright Larissa FastHorse discusses workshopping her play What Would Crazy Horse Do? at Santa Clara University, and advocates the playwright’s voice in casting choices. 

Playwright Zoe Kamil writes about casting a play of hers, and the difficult conversations that arose because she didn’t specify the race of certain characters.

Daniel Kelin describes the process of working on a play with a multi-racial and -ethnic ensemble playing characters from many different backgrounds.

Following a series of casting controversies in Chicago, Tlaloc Rivas offers counsel and perspective to Latinx actors while calling out theatres that practice whitewashing.

Artistic Director Brianna Smith discusses gender fluidity and advocates the need for creating more opportunities transgender, gender-queer, androgynous, and other non-binary actors.

Meg Greene explores the casting process as a socially responsible practice that considers and values gender identity.

Actor Natalie Camunas discusses cultural microaggressions she’s faced in her career, and shares her experience working on DJ Latinidad’s Latino Dance Party.

David Dudley interviews members of the creative team behind the Goodman Theatre’s recent production of Thornton Wilder’s The Matchmaker.

Actor Michelle Banks advocates the need for more diversity and inclusion for deaf and hard of hearing actors of color in the American theatre.

Actress Bethany Hanna reflects on past casting experiences and shares her current outlook on body image.

A document used by Hampshire College in directing classes, senior seminars, and student-led season planning to further discussions about race and casting. 

Playwright Alvaro Saar Rios writes about the value of casting non-Latina/o actors in Latina/o roles in a university setting.

In this third installment, Sam Turich discusses the question of identity and its relationship to audiences in Pittsburgh and San Diego.

Playwright Emilio Rodriguez discusses his experience working in Detroit, a city that is often overlooked, but has opportunities for emerging theatre artists. 

Chicago director Lavina Jadhwani follows up on her previous HowlRound article about color-conscious casting, discussing how to create a safe space while color-conscious directing.

Stephanie Barton-Fracas, artistic director of Nicu’s Spoon, New York’s first and oldest inclusive theatre, talks about inclusivity as a necessary reflection of our current society.

Nelson T. Eusebio III addresses the argument that the “best” actor must always be cast in a role, regardless of race.

Director Desdemona Chiang provides an overview of Asian American discrimination and cultural appropriation in the US and argues that there is no way to divorce The Mikado from this problematic history.