This article takes as its starting point a quotation from the British East Asian actor Paul Courtenay Hyu concerning casting practice at the Royal Shakespeare Company (RSC): ‘They have an all-black Julius Caesar and an all-Indian Much Ado, but when they decide to do the Chinese Hamlet, they cast fourteen out of seventeen actors and all of the major parts as non-Chinese. In the 21st century, that’s unbelievable.’ Hyu raises many issues including diversity policies, politics of ethnic minority casting, and cultural representation, all of which were contested following the casting choices made by the RSC in 2012. I use the American scholar Ayanna Thompson’s theories concerning ‘non-traditional’ casting policies as a lens through which to analyse contemporary British theatrical practices. The concepts of ‘colour-blind’ and ‘cross-cultural’ casting are examined in the context of the World Shakespeare Festival where the ethos of celebrating Britain’s ‘unique internationalism’ and diversity was championed. As the Olympic year drew to a close, there were clear tensions between celebration and condemnation, expectation and disappointment, visibility and invisibility, regarding the representation of performers from ethnic minority backgrounds appearing on stage at the RSC. Through an examination of Much Ado About Nothing directed by Iqbal Khan, and Julius Caesar and The Orphan of Zhao, both directed by Gregory Doran, this article seeks to address the complexities involved in different approaches to casting, and the impact these evolving practices have on the cultural representation of diverse communities in contemporary Britain.
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