Outcast: Limits and Possibilities in Casting Black Performers in the Age of Granular Dramaturgy

Abstract

The history of Black performance in Canada goes back to the early nineteenth century alongside blackface. In the late twentieth century, ‘blind casting’ became an opportunity for Black performers to work on canonical works of Western theatre. But this form of casting is problematic as it asks the audience to look beyond the identity of the performer, to disregard any important facet of their humanity. As casting is evolving to acknowledge the identity of the performers, some cases show that cultural casting demands additional human and financial resources so that the work is precise and culturally accurate. A deft use of conscious casting can lead to more layered and additional aesthetic complexity to play in the repertoire. A judicious application of our new paradigms in culturally specific and safer spaces should not be construed as dogma; in fact, there are occasions where we must subvert our thinking for greater artistic results and compassionate treatment of performers. Lenity and mindfulness in casting will guide casting directors and institutional dramaturges, and this will yield better artistic results.