DC Actors Of Color

We are actors of color working in DC theatre that notices the use of actors of color in DC theatre.

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NOMINATE MICHAEL J. BOBBITT FOR A TONY AWARD

This is a request for the DC Theatre community to band together to nominate Michael J. Bobbitt for The Tony Awards® and Carnegie Mellon University’s Excellence in Theatre Education Award.

Mr. Bobbitt is the Producing Artistic Director and CEO of Adventure Theatre MTC; is a graduate of Leadership Montgomery, the Coaching Initiative for Non Profit Leaders of Color - National Training Laboratories & Mosaica and Harvard Business School’s Social Enterprise Initiative - Strategic Perspectives in Nonprofit Management; serves on the board of theatreWashington, Rockville Chamber of Commerce, Non Profit Village and the American Alliance of Theatre and Education; has been a respondent for the Cohen New Works Festival at the University of Texas, The Junior Theatre Festival and the South Eastern Theatre Conference;  has served on grants panels for The National Endowment for the Arts, The DC Commission on the Arts and Humanities and the Maryland State Arts Council; and received the 2015 EXCEL Leadership Award from the Center for Nonprofit Advancement.

Under the leadership of Michael J. Bobbitt, countless students (youth and adult) have grown as theatre artists and as individuals. Perhaps you have worked with Michael before?

Has Michael J. Bobbitt been you teacher before?

Make a Video That Tells Tonys and CMU Michael’s Story. Demonstrate why he has a compelling story, and has gone above and beyond in the field of theatre education. For example, describe how Michael has made a difference in your life, your school or your community; or how he is working to advance and champion theatre education in today’s landscape.

Are you a colleague of Mr. Bobbitt’s?

Write a Letter of Reference for Mr. Bobbitt. Letters may be submitted by any individual including, but not limited to, a colleague in the candidate’s school, an academic advisor or current supervisor, a former student, or a community leader. Videos may not exceed three minutes in duration. Video must be in MOV, AVI or WMV format, minimum resolution 320x240.

Are there any people with video recording and editing experience who can make the video of students telling Michael J. Bobbitt’s story?

The deadline for all application materials including letters of recommendation is February 29, 2016. This is something we must all as a community work on together.

Michael J. Bobbitt has provided countless opportunities for artists and audiences who are underrepresented to feel included in the DC Theatre community. The proof that Mr. Bobbitt deserves a nomination is in his students. -DCActorsOfColor Rules found on Tony Awards website. Pictures found on google search.

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2016 DC Theatre #HHANoms Breakdown

The 2016 Helen Hayes Award Nominees have been announced!

Mirroring the #OscarsSoWhite controversy, and continuing their own tradition of excluding marginalized voices, theatreWashington’s Helen Hayes Awards is once again lacking diversity.  This is the third year DCActorsOfColor has evaluated the diversity in the #HHANoms, and it is astonishing how little and how slowly the DC Theatre community is embracing diversity, inclusion, and accessibility. Still, theatreWashington is simply an award granting institution that reflects DC Theatre’s own colonial practices. Without disregarding theatreWashington’s own colonial roots, just like The Academy is not to blame for Hollywood’s lack of diversity, it is not theatreWashington’s fault that DC Theatre continues to be a community that excludes artists of color, artists with disabilities, Latinx artists, genderqueer & trans artists, and youth artists. Every single Artistic Director and season planning artist is responsible for properly representing the DC/MD/VA communities, and without complete cooperation in including diverse stories, DC’s colonial identity will never change.

For the purposes of this breakdown, only individual artist awards will be counted (except for Vicki R. Davis's nomination for Outstanding Set Design- HELEN Production in Spooky Action Theater's “Last of the Whyos” because we could not find information on the artist online). The following are the 184 nominees for individual awards broken down by demographics:

BY GENDER 106 nominations (57.6%) went to men. 78 nominations (42.4%) went to women. BY RACE 156 nominations (84.8%) went to white artists. 28 nominations ( 15.2%) went to artists of color. BY RACE AND GENDER 94 nominations (51.1%) went to white men.

62 nominations (33.7%) went to white women.

12 nominations (6.5%) went to men of color. Nominees are: ***Robert Barry Fleming for Outstanding Choreography in a Play-HAYES Production  in Arena Stage’s “Destiny of Desire”. ***Thomas W. Jones II for Outstanding Choreography in a Play-HAYES Production in MetroStage’s “Uprising”. ***Giorgos Tsappa for in Outstanding Set Design-HELEN Production Spooky Action Theater’s “Jarry Inside Out”. ***Toshi Reagon (Composer) (with Timothy M. Thompson- Sound Design) for Outstanding Sound Design-HAYES Production  in Arena Stage’s “The Blood Quilt”. ***Timothy Douglas for Outstanding Director of a Play-HELEN Production in Theater Alliance’s “Dontrell, Who Kissed the Sea,” ***Mikey Cafarelli for Outstanding Supporting Actor in a Musical-HELEN Production in Constellation Theatre Company’s “Avenue Q”. ***Vaughn Ryan Midder for Outstanding Supporting Actor in a Musical-HELEN Production in Constellation Theatre Company’s “Avenue Q”. ***Craig Wallace for The James MacArthur Award for Outstanding Supporting Actor in a Play-HAYES Production in Ford’s Theatre’s “The Guard”. ***Jon Hudson Odom for The James MacArthur Award for Outstanding Supporting Actor in a Play-HELEN Production in Forum Theatre’s “Passion Play,” ***Kevin McAllister for Outstanding Lead Actor in a Musical-HELEN Production  in Toby’s Dinner Theatre’s “Ragtime, The Musical”. ***Ramzi Choukair for The Robert Prosky Award for Outstanding Lead Actor in a Play-HAYES Production in  Shakespeare Theatre Company’s “Salome” ***Michael Kevin Darnall for The Robert Prosky Award for Outstanding Lead Actor in a Play-HELEN Production in  Spooky Action Theater’s “Last of the Whyos”.

16 nominations (8.7%) went to women of color. Nominees are: ***Melanie George for Outstanding Choreography in a Play-HAYES Production in Woolly Mammoth Theatre Company’s “Women Laughing Alone With Salad”. ***Dane Figueroa Edidi for Outstanding Choreography in a Play-HELEN Production in Theatre Alliance’s “Dontrell, Who Kissed the Sea”. ***Patti Kalil for Outstanding Set Design-HELEN Production in Pointless Theatre’s “Doctor Caligari”. ***Anastacia McCleskey for Outstanding Supporting Actress in a Musical-HAYES Production in Studio Theatre’s “Murder Ballad”. ***Jade Jones for Outstanding Supporting Actress in a Musical-HELEN Production in  Creative Cauldron’s “Once on This Island”. ***Justine “Icy” Moral for Outstanding Supporting Actress in a Musical-HELEN Production in  Constellation Theatre Company’s “Avenue Q”. ***Dawn Ursula for Outstanding Supporting Actress in a Play-HAYES Production in Woolly Mammoth Theatre Company’s “Zombie: The American”. ***Lolita Marie for Outstanding Supporting Actress in a Play-HELEN Production in 1st Stage’s “Doubt, a Parable”. ***Amber Iman for Outstanding Lead Actress in a Musical-HAYES Production in Shakespeare Theatre Company’s “Man of La Mancha”. ***Felicia Curry for Outstanding Lead Actress in a Musical-HELEN Production in Adventure Theatre MTC’s “Oliver!”. ***Caroline Clay for Outstanding Lead Actress in a Play-HAYES Production in Arena Stage’s “The Blood Quilt”. ***Dawn Ursula for Outstanding Lead Actress in a Play-HAYES Production in Theatre J’s “Queens Girl in the World”. ***Anu Yadav for Outstanding Lead Actress in a Play-HELEN Production in No Rules Theatre Company’s “In Love and Warcraft”. ***Caleen Sinnette Jennings for Outstanding Original Play or Musical Adaptation in The Kennedy Center’s “Darius & Twig”. ***Katori Hall for The Charles MacArthur Award for Outstanding Original New Play or Musical in Arena Stage’s “The Blood Quilt”. ***Caleen Sinnette Jennings for The Charles MacArthur Award for Outstanding Original New Play or Musical in Theatre J’s “Queens Girl in the World”. BY ETHNICITY 72 nominations (93.5%) went to non-Latinx/Hispanic artists

12 nominations (6.5%) went to Latinx or Hispanic artists . Nominees are: ***Mariano Marin for Outstanding Sound Design-HELEN Production in GALA Hispanic Theatre’s “Yerma”. ***Mariano Caligaris for Outstanding Director of a Musical-HELEN Production in GALA Hispanic Theatre’s “Las Polacas - The Jewish Girls of Buenos Aires”. ***José Luis Arellano García for Outstanding Director of a Play-HELEN Production in GALA Hispanic Theatre‘s “Yerma”. ***Iker Lastra for The James MacArthur Award for Outstanding Supporting Actor in a Play-HELEN Production in  GALA Hispanic Theatre’s “Yerma”. ***Martin Ruiz  for Outstanding Lead Actor in a Musical-HELEN Production in  GALA Hispanic Theatre’s  “Las Polacas - The Jewish Girls of Buenos Aires”. ***Silvia de Marta, for Outstanding Set Design-HELEN Production in  GALA Hispanic Theatre’s “Yerma”. ***Natascia Diaz for Outstanding Supporting Actress in a Musical-HAYES Production in Signature Theatre’s “West Side Story”. ***Ana Fontán for Outstanding Supporting Actress in a Musical-HELEN Production in  GALA Hispanic Theatre’s  “Las Polacas - The Jewish Girls of Buenos Aires”. ***Luz Nicolás for  Outstanding Supporting Actress in a Play-HELEN Production in  GALA Hispanic Theatre’s  “Yerma”. ***Mabel Del Pozo for Outstanding Lead Actress in a Play-HELEN Production in  GALA Hispanic Theatre’s “Yerma”. ***Dane Figueroa Edidi for Outstanding Choreography in a Play-HELEN Production in Theater Alliance’s “Dontrell, Who Kissed the Sea”. ***Patti Kalil for Outstanding Set Design-HELEN Production in Pointless Theatre’s “Doctor Caligari”.

All of these numbers say a lot about the work the community is presenting and by examining even closer, there are exclusivity in several categories.

All of the nominations in FIVE of the 19 non-gendered categories went exclusively to men. Those categories are: ***Outstanding Musical Direction-HAYES Production ***Outstanding Lighting Design-HAYES Production ***Outstanding Lighting Design-HELEN Production ***Outstanding Sound Design-HAYES Production ***Outstanding Sound Design-HELEN Production

All of the nominations in SIXTEEN of the 36 categories went exclusively to white artists. Those categories are: ***Outstanding Choreography in a Musical-HAYES Production ***Outstanding Choreography in a Musical-HELEN Production ***Outstanding Musical Direction-HAYES Production ***Outstanding Musical Direction-HELEN Production ***Outstanding Costume Design-HAYES Production ***Outstanding Costume Design-HELEN Production ***Outstanding Lighting Design-HAYES Production ***Outstanding Lighting Design-HELEN Production ***Outstanding Set Design-HAYES Production ***Outstanding Sound Design-HELEN Production ***Outstanding Director of a Musical-HAYES Production ***Outstanding Director of a Musical-HELEN Production ***Outstanding Director of a Play-HAYES Production  ***Outstanding Performer- Visiting Production ***Outstanding Supporting Actor in a Musical-HAYES Production ***Outstanding Lead Actor in a Musical-HAYES Production

All of the nominees in SIX of the 36 categories went exclusively to white men. Those categories are: ***Outstanding Musical Direction-HAYES Production ***Outstanding Lighting Design-HAYES Production ***Outstanding Lighting Design-HELEN Production ***Outstanding Sound Design-HELEN Production ***Outstanding Supporting Actor in a Musical-HAYES Production ***Outstanding Lead Actor in a Musical-HAYES Production

Of the 28 nominations that went to artists of color, EIGHT were in technical categories and 20 were in the acting categories. FOURTEEN of the 28 nominations that went to artists of color were in the HELEN categories, ELEVEN in the HAYES categories, and THREE in the Playwright categories.

Of the 12 nominations that went to Latinx or Hispanic artists: FIVE went to white men, FIVE went to white women, and TWO went to women of color. NINE of these 12 nominations went to GALA Hispanic Theatre: DC’s leader in Latinx/Hispanic Theatre. All of GALA’s nominations went to white artists (in plays with characters of  European heritage- Polish and Spanish descent).

There were TWO youth artists nominated: ***Ethan Miller for Outstanding Supporting Actor in a Musical-HELEN Production in Creative Cauldron's “The Turn of the Screw” ***Franco Cabanas for Outstanding Lead Actor in a Musical-HELEN Production in Adventure Theatre MTC’s “Oliver!";

And ONE Transgender artist nominated: ***Dane Figueroa Edidi for Outstanding Choreography in a Play-HELEN Production in Theater Alliance’s “Dontrell, Who Kissed the Sea”.

There are other demographics that are not represented in these nominations, such as artists with disabilities, and there is more that needs to be done to get these diverse stories told on professional theatre stages. Last year, Miranda Medugno won the Helen Hayes Award for “Outstanding Supporting Actress in a Musical-HELEN Production” for her work on WSC Avant Bard‘s “Visible Language”,  which is playing a huge a part of shattering the glass ceiling for Deaf actresses, and all artists with disabilities in DC Theatre. With the popularity of the t.v. show Switched at Birth, America’s Next Top Model winner Nyle DiMarco, and the  Deaf West Broadway Revival of “Spring Awakening,” there is little excuse for excluding DC’s d/Deaf community from not only being part of the creation and presentation of theatre, but also from participating as audience members.

There needs to be an initiative put forward by the community to employ and celebrate female Sound and Light Designers. There needs to be an initiative put forward by the community to employ and celebrate Designers of color, and Female Directors of Color. There needs to be an initiative put forward by the community to employ and celebrate Latinx and Hispanic artists, especially Latinx artists of color. There needs to be an initiative put forward by the community to employ and celebrate Deaf artists and other artists with disabilities. Whatever the outcome of these nominations happens to be, and no matter what noise is made about the lack of diversity, there will be no change if the theatre community is not willing to take the first step.

-DCActorsOfColor

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#WomensVoicesFest Highlights Racial Inequality in #DCTheatre

The Women’s Voices Theatre Festival is a collaboration between 46 professional theaters in the Washington, D.C. metropolitan area, highlighting world premier productions written by female playwrights. It was devised by the Artistic Directors of 7 DC Area theatre companies: Arena Stage (Molly Smith), Ford’s Theatre (Paul R. Tetreault), Round House Theatre (Ryan Rilette), Shakespeare Theatre Company (Michael Kahn), Signature Theatre (Eric Schaeffer), Studio Theatre (David Muse), and Woolly Mammoth Theatre Company (Howard Shalwitz).

Plays in the festival run from August 12 until November 22. The 46 theatres involved include: 1st Stage, Adventure Theatre MTC, Arcturus Theater Company, Arena Stage (with 2 entries), Atlas Performing Arts Center, Baltimore Theatre Project, Compass Rose Theater, First Draft at The Rose Theatre, Flying V, Folger Theatre, Ford’s Theatre, Guillotine Theatre, Imagination Stage, Interrobang Theatre Company and The Strand Theatre Company, Live Garra Theatre, Longacre Lea (with 2 entries), MetroStage, NextStop Theatre Company, Olney Theatre Center, Pallas Theatre Collective, Pointless Theatre, Quotidian Theatre Company, Rep Stage, Round House Theatre, Scena Theatre, Shakespeare Theatre Company, Signature Theatre, Single Carrot Theatre, Spooky Action Theater Company, Studio Theatre, Synetic Theater, Taffety Punk Theatre Company, Theater Alliance, Theater J, The Highwood Theatre (with 2 entries), The Keegan Theatre (with 2 entries), The John F. Kennedy Center for the Performing Arts, The New Millennium Howard Players, Thelma Theatre (with 2 entries), Unexpected Stage Company, Venus Theatre Company (with 2 entries), Washington Improv Theater, Washington Women in Theatre, We the Temple Productions, Woolly Mammoth Theatre Company, and Young Playwrights' Theater.

(Image: Women’s Voices Theatre Festival logo)

This historical event for Gender Equality in the U.S. Theatre was launched on Tuesday, September 8, and streamed on HowlRound with a special interview between National Public Radio host Susan Stamberg and the 2015 Tony-Award Winning Playwright Lisa Kron. Overall, the festival is praised for the inclusion of women playwrights and the creation of several dozen jobs for women artists, however, there is something else that this festival highlights: the exclusion of women of color in DC Theatre. (A trend that has been a part of the community from inception.)

There are 52 new plays being produced in this festival. Of those 52, only 9 are written by Women of Color. A mere 17%. Which means that 83% of the plays in this festival were written by white women. One white woman, Kathleen Akerley, is produced twice (NIGHT FALLS ON THE BLUE PLANET, running September 3 through September 27, with Theater Alliance; and BONES IN WHISPERS, running August 12 through September 6, with Longacre Lea), and another, Yaël Farber, is both the Adaptor and Director of the same production (SALOME, running October 6 through November 8, with Shakespeare Theatre Company). This extreme racial inequality is disheartening. According to the George Mason University Center for Regional Analysis, in 2010, People of Color made up roughly 51% of the DC Metropolitan Area’s population, and women made up 51% of the population. If this is the case, why is DC Theatre ignoring roughly 25-30% of the population? How is it possible that in a festival that is suppose to represent women’s voices, the most vulnerable groups in the DC theatre community (women of color) are still pushed to the side? Are Black Women not Women? Are Asian Women not Women? Are Native Women not Women? Does the Women of Color’s experience not count as a women’s experience simply because of the color of her skin?

Adding insult to injury, the Festival named First Lady Michelle Obama the Honorary Chair. With such a high profile Women of Color attached to this project, it can only be assumed that Women of Color would be treated equally. Sadly, that is not the case. Out of a group of 30 women to be named  as part of the Honorary Committee of the festival, only 6 were Women of Color: Audra McDonald, Lydia Diamond, Lynn Nottage, Anika Noni Rose, Katori Hall, and Quiara Alegría Hudes. The use of the FLOTUS’ profile, as well as that of the other 6 women of color, to gain national recognition for the festival, is just another example of what white women have been doing for centuries: exploiting Women of Color’s bodies for societal advancement.

There were nine theatres respectful enough to offer eight Women of Color a “voice” in this Women’s Voices initiative and those voices should be highlighted: 

Running September 16 - September 20 with Live Garra Theatre is A MATTER OF WORTH by Marcia E. Cole. “A vo-collage play seen from the eyes of Hannah, a 73 year-old slave; her sharp mother-wit proves she's worth much more than what's being sold on auction day. The action takes place in Baltimore County in the summer of 1855. It is the day of the estate inventory for a deceased plantation owner held in the courtyard. It is midday on the estate of Caleb D. Goodwin.”

(Image: Marcia E. Cole.)

Running September 16 - October 11, with Theater J is QUEENS GIRL IN THE WORLD by Caleen Sinnette Jennings. “It’s summer 1962 on Erickson Street, Queens, New York. The sounds of doo-wop music fill the night, the scent of cream soda lingers in the air and 12-year-old Jacqueline Marie Butler is on the verge of adulthood. At the end of that summer, Jacqueline’s parents abruptly transfer her to a progressive, predominantly Jewish school in Greenwich Village. As one of only four black students, Jacqueline discovers a new city and a whole new world. This evocative one-woman show, starring Dawn Ursula, is a semi-autobiographical world premiere from Caleen Sinnette Jennings.”

(Image:  Caleen Sinnette Jennings.)

Running September 17 - October 25, with MetroStage is UPRISING by Gabrielle Fulton. “Set in the aftermath of John Brown’s Raid on Harper’s Ferry, UPRISING explores self-determination and sacrifice through the lens of a free black community during Secession Era America. When Sal discovers Ossie, a hypnotic revolutionary hiding in the field, her life is turned upside down by her strong attraction to him and his revolutionary mission and its impact on her commitment to the well-being of her young son, Freddie.   Inspired by the true story of Osborne Perry Anderson, the only African American participant in John Brown’s Raid to survive, and the tales of the playwright’s cotton-picking great-grandmother, UPRISING explores notions of freedom and sacrifice, family and community.  In the shadow of emotionally charged nationwide protests against police brutality and the racial divide that is still a part of our American culture, it is imperative that conversation around slavery and freedom continue to be a part of the American zeitgeist.”

(Image: Gabrielle Fulton.)

Running October 9 - October 11, with Baltimore Theatre Project is GLASS RAINBOWS: COLORED PIECES OF A MENDED HEART by Tammy Turner. “Adversity is objective when homegrown hustle and ambition keep you up most nights. There's got to be more to life! Journey with Tammy Turner, a top finalist of BET's SUNDAY BEST, as she navigates the inequities of life, love and triumph. This one-woman show, brilliantly written and performed by Tammy, is an intricately woven story of resilience through a harrowing childhood into a lifeless marriage that teaches us that life isn't always about just getting to the pot of gold at the end of your rainbow. Laughing to keep from crying and choosing to LIVE to keep from dying, GLASS RAINBOWS explores elevation through perseverance, faith and determination. Bent does not always mean broken.”

(Image: Tammy Turner.)

Running October 10 - November 13, with The Keegan Theatre is THE MAGIC TREE by Ursula Rani Sarma. “At turns tragic, comic, and mystical, THE MAGIC TREE is the story of love born in a very dark place between a boy who wants to belong and a girl who wants to be forgotten. On a stormy night in Dublin, they shelter in an abandoned summer home and tentatively discover what it is they have in common. But just when it seems something beautiful might emerge, the opposite appears. Ursula Rani Sarma is an award­-winning playwright who has been Writer in Residence for the National Theatre Studio (London), Paines Plough Theatre Company (London) and the Eugene O’Neill Theatre Centre.”

(Image: Ursula Rani Sarma.)

Running October 15 - November 14, with Pointless Theatre is GIMME A BAND, GIMME A BANANA! THE CARMEN MIRANDA STORY by Mel Bieler (with Patti Kalil). “Written by company members and Brazilian-American artists, Mel Bieler and Patti Kalil, Pointless Theatre’s new original piece explores a tense yet revolutionary period for Brazilian music and political relations between Latin America and the United States. GIMME A BAND, GIMME A BANANA!, follows the story of iconic 1940’s Brazilian Bombshell, Carmen Miranda, through the sounds of samba and experimental multi-disciplinary theatre. This era of Hollywood glam and cultural commodification is examined through Carmen’s experiences as one of the first Latina performers to immigrate to the United States and become a household name.  This samba puppet spectacle is narrated through Carmen’s songs, which introduced Brazilian culture to the rest of the world, consecrating the actress as a Hollywood’s legendary “Lady in the Tutti Frutti Hat.” GIMME A BAND, GIMME A BANANA! combines Pointless’ unique use of puppetry, live music, and dance, reinforcing the company’s style which, “feels completely, exuberantly its own” (The Washington Post).”

(Image: Mel Bieler.)

Running October 19 - October 19 by Young Playwrights' Theater is GIRLS WRITE OUT! by four young female playwrights (DIAMOND OF DESTINY written by Girl of Color Nevaeh Edwards). “Young Playwrights’ Theater (YPT) presents GIRLS WRITE OUT!, presentations by professional actors of four short plays written by young female playwrights. These fun and fanciful tales of excitement, adventure and imagination are sure to delight both parents and children alike! Each of the playwrights featured in GIRLS WRITE OUT! created their pieces in YPT’s In-School Playwriting Program. Ranging in age from 8-15 years old, they are the youngest playwrights whose work you will see during the Women’s Voices Theater Festival.  Nevaeh Edwards is a seventh grader in Washington, DC. She wrote her play, DIAMOND OF DESTINY, while in Young Playwrights’ Theater’s In-School Playwriting Program at Amidon-Bowen Elementary School in 2013. YPT’s team of professional theater artists is excited to bring the piece to life in GIRLS WRITE OUT!”

(Image:  Nevaeh Edwards.)

Running October 28 - November 1, with The New Millennium Howard Players is FOR THE LOVE OF OSCAR by Hope Price-Lindsay. “When a middle-aged divorcee on the verge of giving up on men meets a caring, handsome, wealthy widower on a dating website, she's sure she's finally found the man of her dreams until she's confronted with his "baggage" - the ghost of his dead wife who's desperately trying to hold on from the other side. “

(Image:  Hope Price-Lindsay.)

Running October 31 - November 8, with The John F. Kennedy Center for the Performing Arts is DARIUS & TWIG by Caleen Sinnette Jennings. “Based on DARIUS & TWIG by Walter Dean Myers, this Kennedy Center world premiere commission is adapted by Caleen Sinnette Jennings and directed by Eleanor Holdridge. Darius and Twig have been best friends since they were nine. Now 16, the two dream of finding a world beyond the confines of their daily lives on 145th Street in Harlem. Certainly, their talents are on their side: Darius is a highly intelligent writer and Twig is a gifted runner. But are the two free to use their gifts?  A suspenseful, street-smart novel by acclaimed novelist Walter Dean Myers, DARIUS & TWIG depicts a viscerally real setting in which young men must struggle to overcome obstacles by finding the best within themselves. For ages 13 and up. Part of the Theater for Young Audiences Season.”

(Image:  Caleen Sinnette Jennings.)

Though the Women’s Voices Theatre Festival has provided invaluable opportunities to white female artists in DC, Women of Color continue to be forsaken. This is just the first year of the festival and so there is a lot of room for growth. If the white men and women who cared for white women’s voices to be heard, can have as much desire for racial equality for future installments of the festival, then at the 2016 Women’s Voices Theatre Festival, Women of Color will be equally represented. In her interview with Susan Stamberg, Lisa Kron says "I think this festival is an example of how, you know, if we want change, it can be changed. It can be change immediately." This is an excellent point. If white men and women WANTED a change to the racial inequality in our community (and society at large), there would be an immediate change. Artists of Color want a change. White Artists: do you?

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MLK QUOTES WHITE PEOPLE DONT QUOTE

Freedom is never voluntarily given by the oppressor; it must be demanded by the oppressed.- Martin Luther King, Jr.

He who passively accepts evil is as much involved in it as he who helps to perpetrate it. He who accepts evil without protesting against it is really cooperating with it. Martin Luther King, Jr.

Discrimination is a hellhound that gnaws at Negroes in every waking moment of their lives to remind them that the lie of their inferiority is accepted as truth in the society dominating them. Martin Luther King, Jr.

A riot is the language of the unheard. Martin Luther King, Jr.

Property is intended to serve life, and no matter how much we surround it with rights and respect, it has no personal being. It is part of the earth man walks on. It is not man. Martin Luther King, Jr.

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Thank You Letter and Reflection: Maya Fables

foto cred to Rene Browne.  Costume design by GALA Hispanic Theatre

Picture at National Museum of the American Indian.  Adrian Esquino Lisco quote.  

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Thank you mopino432 for your reflection. Also thank you to actorchema for their reflection on tumblr and for posting Director Ceclia Cackley’s reflection on the DC Native American Theatre Artists/Artistas Indígena de Teatro de DC page.  You have posed some great points. One particular question that sticks out is “Does bilingual education have Spanish-speaking and pre-existing bilingual communities and children in it's best interest?” It is important that GALita think about these questions and about these refletions. Who is GALita’s target audience? If bilingual Brown youth are those GALita are striving to represent, how are these youth being uplifted? Who benefits more from neoliberal racism in TYA? What will be done in the future so that GALita, as the only bilingual TYA company in Washington, D.C., can better support bilingual Brown youth? After reading these reflections, it sounds as though GALA Hispanic Theatre’s role in the Forum was minimal, if not simply a publicity stunt. If GALA Hispanic Theatre does not produce a statement about the Forum, the Red-Face, and their position in DC Theatre, it will be evident that GALA’s only goal for the forum was to give a false sense of self-awareness and to save face in the scope of a racism scandal. 

Hugo Medrano, Rebecca Medrano, Abel López, and Laura Quiroga have all said nothing publicly. Quiroga was even absent at the Forum. If the Medranos,  López, and Quiroga really care about the Brown Children they are representing with their GALita series, they must make a statement showing some ACCOUNTABILITY. They must take RESPONSIBILITY for their actions. It was clear at the Forum that GALA Management believes they have done nothing wrong. In fact, they believe Maya Fables was a success and beneficial to DC Youth. They see nothing wrong with Carol Spring violently stealing jobs from Native American, Mestiza, and other Women of Color. They see nothing wrong with European Designers co-opting spaces that they have no purpose being a part of. They see nothing wrong with the way they are running their (European) Theatre Company. GALA’s role in DC Theatre as a “theatre of Color” is false. GALA Hispanic Theatre is a WHITE European Theatre that mascarades itself as a Theatre for Artists of Color. Just like every other White European Theatre in the DC Theatre, GALA Hispanic Theatre hires a vast majority White European Artists and produces White European works, to gain funds from the White European Donors. They are a White theatre, by White artists, for White audiences. 

The company has announced they will be producing Don Quixote in the fall.... Either GALA Hispanic Theatre is completely oblivious to the damage they are doing, or they are actively being destructive. Either way, a complete overhaul of GALita and GALA must be made. There needs to be a new era of GALA Hispanic Theatre. A place that lives up to it’s legacy as a theatre for marginalized people; rather than marginalizing the people they pretend to represent. If GALA Hispanic Theatre has any respect for the Artists of Color they have previously worked with, as well as specifically the Artists of Color involved with Maya Fables, they will make a statement that has an apology and a resolution for the future. They owe it to the DC theatre community, and the Native American community across the American continent at large. #NoMoreDonQuixote

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NABJ-SU Presents: Jesse Williams - “More than Meets the Eye” (Event) from NABJ SU

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actorchema dcactorsofcolor

[dcactorsofcolor]

Thank you mopino432 for sharing this video. Jesse Williams speaks Truth.

[dcactorsofcolor]

#2015HHA Winners Announced!

The theatreWashington 2015 Helen Hayes Awards Winners have been announced… A shockingly low number of Artists of Color were recognized. Last year, Artists of Color were only nominated for 24% of the awards and only won about 28% of the awards. This year, sadly, only 13% of the nominations were given to Artists of Color……. and only 10% of the winnings.

Out of 208 possible individual nominations, only 28 of them went to Artists of Color: 14 women and 14 men; and out of the 48 awards: only 5 awards went to Artists of Color.

Wayne Bennett wins “The James MacArthur Award for Outstanding Supporting Actor in a Play - Helen Production” for their work on "Seven Guitars" with No Rules Theatre Company.

Paul Tazewell wins the “Outstanding Costume Design - Hayes Production” for their work on "Side Show" with The Kennedy Center

e'marcus Harper-Short wins the “Outstanding Musical Direction - Helen Production” for their work on "Black Nativity" with Theater Alliance

Theater Alliance’s “Black Nativity” wins the “Outstanding Ensemble in a Musical - Helen Production” and the “Outstanding Musical - Helen Production” awards.

(Photo Credit: The ensemble of Black Nativity (center) G. Carlos Henderson and Ny’a Johnson. (C. Stanley Photography) )

There were many great Artists of Color that were nominated, most notably: (former Fresh Prince of Bel Air star) Joseph Marcell in Folger Theatre’s King Lear (“Outstanding Performer, Visiting Production”); 8 individual artists from Theater Alliance’s Black Nativity (including Outstanding work in a HELEN Production for “Lead Actress in a Musical,” “Lead Actor in a Musical,” “Director of a Musical,” “Musical Direction,” and “Choreography in a Musical”); and 4 individual artists from No Rules Theatre Company’s Seven Guitars.

(Photo Credit: Joseph Marcell and Rawiri Paretene in King Lear. (Ellie Kurttz)

Still, European-Descendant Men garnered 60% of the individual awards; European-Descendant Women received 32% of the individual awards; Men of Color won 8% of the individual awards; and Women of Color were not named winners in the individual awards at all.

In general, Male Artists fared better than Female Artists who only took in only 32% of the individual awards (again, all of which were European-descent women). 90% of the awards comprised of mostly European-descendant teams and only 10% were given to teams with a majority Artists of Color.

There were also two Deaf Actors that were nominated as well (the first Deaf actors to be nominated for a Helen Hayes Award in 21 years, since Mary Vreeland’s nomination in Shakespeare Theatre's Mother Courage and Her Children in 1994), and Miranda Medugno won the award for “Outstanding Supporting Actress in a Musical-HELEN Production” for her work on WSC Avant Bard‘s Visible Language. A historical win!

(Photo Credit: Miranda Medugno with Sarah Anne Sillers in Visible Language (WSC Avant Bard).)

The #2015HHA did not offer the diversity needed, as expected. With the high success of Theater Alliance’s “Black Nativity,” this should be a wake up call to DC’s Professional Theatres that Artists of Color DO produce amazing theatre! Theatres need to provide more opportunities for Artists of Color by producing works by Playwrights of Color, hiring Directors of Color to lead productions, and having Artists of Color in prominent artistic positions within productions. We will end with a congratulations to all the winners, the DC theatre community, the DC Deaf Community, and the future of the US Theatre; and with a quote by the African-American Playwright August Wilson: “We do not need colorblind casting, we need some theatres to develop our playwrights."

[dcactorsofcolor]

GALA Hispanic Theatre’s GALita & Wit’s End Puppets’ collaborative piece Mayan Fables opened this past Monday morning. DC Actors of Color would love to acknowledge and thank the Mestizx artists involved in the production. This production is something you beautiful brown people should be proud of!…

[mopino432-deactivated20211017]

Thanks for the review!! Open community forum is currently being organized by the cast and company to address the use of redface w/n the production. Date and time TBA very soon.

[dcactorsofcolor]

Let us know when those dates will be. We will always be there. We’re glad the cast and company are opening up about the issue to the public. Keep up the great work in the show. Your little shadow puppet boy is adorable. And you are simply dazzling to watch, mopino432. You are amazing with those kids. Break all the legs with the rest of your run.

-AAMW

[dcactorsofcolor]

GALita/Wit’s End Puppet’s MAYAN FABLES - 2015 Remounting

GALA Hispanic Theatre’s GALita & Wit’s End Puppets’ collaborative piece Mayan Fables opened this past Monday morning. DC Actors of Color would love to acknowledge and thank the Mestizx artists involved in the production. This production is something you beautiful brown people should be proud of! All of DC Theatre should support this Mestizx art being performed at the Tivoli in Columbia Heights.

(Photo: Marketing for MAYAN FABLES)

Despite the success of the production, there are still some issues that must be addressed: how were mestizx & indigenx artists used, how much of the art is authentic Mestizx/Indigenx art, among others. We will address some technical issues first, and then review the production itself.

One main concern is the misuse of Mestizx/Indigenx artists. One small example is Chema Pineda-Fernández. On Twitter, Wit’s End mentioned that they were working on the “script which we've been trying to improve with the help of @ActorChema”, yet Pineda-Fernández receives no credit past acting in the program. Which leads to the question, was Pineda-Fernández paid for their non-acting based work on Mayan Fables? Cecilia Cackley is a larger example for many reasons. 1) Why is Cackley a co-Director? She was one of the few female directors of color named as director of professional productions in the DC area for the 2014-2015 season. A co-Direction distinction minimizes Cackley’s accomplishment. Furthermore, co-Director David Lloyd Olson’s (also director of the two previous incarnations of Mayan Fables in 2013 and 2014) European life experience did not and continues to not benefit the well being of this piece of Indigenous art. Cackley’s voice as a Mestiza and experience as Artistic Director of Wit’s End Puppets, was a perfect combination for a Director for this show (only second best to a Maya Director). 2) Why is Cackley overworked? Overworked usually means underpaid. Cackley is Writer, Co-Director, Actor/Puppeteer, and leader of the puppet company that is producing the beautiful work. Why put the whole responsibility on Cackley’s shoulders? Why not let Cackley focus her work on being Wit’s End Artistic Director, and allow her to open up opportunities to other Indigenx artists?

Another concern is the redface in the production.  Over 65% of the credited artists are European-descendants. Furthermore, the more or less 35% of the non-European artists are all Mestizx (this continues the destructive narrative that only ‘whites and mestizos’ can tell Indigenx stories). There is zero Mayan influence on the production and so, Mayan Fables is not a proper title for the show. Mestizaje Fables more accurately describes what GALita/Wit’s End has accomplished with the piece. White Supremacy was not removed from Mayan Fables. Why could GALita not hire more Indigenous artists? Why not hire addition Indigenx/Mestizx actors and designers? Why not do the simplest thing: hire a Maya director? A Maya director would bring a unique voice no other director could ever provide. Indigenx people think about and interpret Indigenx art in unique ways. Giving Indigenx people a place at the table to tell Indigenx work should be a priority for GALA Hispanic Theatre; especially considering they are at an ideal place to serve severely underserved communities: the intersection between Latinx and Indigenx cultures and identities.

(Photo: Marketing for #DecolonizeMayanFables)

A huge concern is music in this production. In the program, a Virginia based musician, Alberto Ramirez (possibly Maya, if not, a Guatemalan Mestizx), was given a “special thanks” for the work they did. What work did this musician do to provide a ‘thanks’? Did they provide music? If so, how did they work with Musical Director Mariano Vales? Also, the two Yucatec song in the beginning and end of the show were not given any credit in the program. Did Ramirez help provide the songs sung, or the music played throughout the show such as Uncle Coyote’s dance? The opening song “Konex, Konex” is a classical Yucatec song. The second was a song I never heard, and sadly the program did not credit any Indigenx artist (classical or contemporary). Why aren’t these Indigenous artists being credited for their work?

(Video: Alberto Ramirez sings “America”)

The program itself contained great information about Classical Maya civilizations, though some contemporary Maya history would have helped tell Maya history better. Talking about contemporary accomplishments of Maya people: such as the anti-colonization efforts of the EZLN movement and Comandante Ramona’s involvement as a Zapatista leader; the winning of the Nobel Peace Prize by activist Rigoberta Menchú; the wide success of composer and singer Armando Manzanero, and many others. There was no credit given to the program/study guide creator. Alina Collins Maldonado is listed as the Education Program and Daphne Figuerero Gerig is listed as Playbill Design- but none is given credit for the educational content within the program. The program is well designed and contains fun and educational activities for children of varying ages. A problem with not specifically having an Indigenx person work on an Indigenx production’s playbill, is that non-Indigenx persons’ first thought is not proper representation of Indigenx works. An Indigenx playbill provider would be sure to include each Indigenx artists’ tribal/ethnic affiliation. The Indigenx and Mestizx artists involved in Mayan Fables were not given the opportunity to represent their Indigenous ethnic group in the program, and if they were, then no one took the opportunity to identify as such.

(Video: Rigoberta Menchú talks Indigenx American peoples & identity)

Why are only 12 performances of this production being offered? The minimum to be eligible for the Helen Hayes adjudication is 16 performances. GALA would be doing a huge service to the DC theatre community by letting Mayan Fables be eligible for Helen Hayes Awards. Mayan Fables is a gorgeous, unique, and refreshing production that could have done very well within the TYA and other Helen Hayes categories.

In enjoying the remounted version of Mayan Fables, I was able to see how far diversity in GALita theater has come and how much further it needs to go.  I have seen all three installments of the show and am pleased with the changes that this new show took in order to make the play more authentic.

To begin with, the opening of the show has revealed that the (Co-)Director, Cecilia Cackley has decided to go for more authenticity, by allowing the “Konex, Konex”, a revered Maya song, to open the show in a ritual sense. This is both a symbolic beginning for the children as they delved into the learning experience, and an homage to the Ancestors and Elders that would be adherent to the show.  In the show previous, there had been winds that blew the ensemble in and away at the beginning and end of the show. Though somewhat interesting, it is not specifically in keeping with Maya traditions. The concept of Indigenx performance being about more than music, dance, and theatre, was very strong in this production. Ritual and tradition played a large role in bringing authenticity into the production, and helping to #DecolonizeMayanFables.

(Video: Konex Konex performed by Raíces del Mayab al Reino Unido)

Another much appreciated change was with the Jaguar roles which was played previously by Pineda-Fernández and Bob Sheire. Pineda-Fernández reprises their role, and is joined by new Mayan Fables actor, Miguel Alejandro Amaguaña.  Immediately, children are engaged by the jaguars and their plight, being harangued by a playful shadow cricket, puppeteered by one of the actors backstage. What was cut, was the hip-hop skit, which veered heavily from the cultural music and setting of the play.  During previous mountings, the Jaguars enter with a beatbox beat that insinuates incorrectly that there are heavy African themes to emerge later in the play.  However, since that was never the intention of the play, it comes off as erroneous and somewhat offensive- bordering on Blackface, which raises the question: what was Co-Director David Lloyd Olson thinking? A drastic change was made and instead the relationship of the two formerly beatboxing Jaguar pals, becomes a more natural and caring relationship between gender neutral cat characters. The interaction was seamless and children's laughter and cooperation in the play continued without the awkward hitch from before.

(Photo: Amaguaña in GALita’s TUM TICA, with Karin Tovar... no photos of Amaguaña in MAYAN FABLES exists.)

Cackley did quite well in handling themes of diversity by also changing the relationship between the Shaper and Creator, and by reverting their names to the Classical Maya names, Xpiyacoc and Xmucane (the first father and the first mother of all Maya people).  Previous mountings had these two roles played by (a redface donning) Sheire and Pineda-Fernández. Admittedly, it was jarring to have Sheire play the role, not simply because it distracted from the authenticity but also because the show is heavily bilingual and his role seemed to be really Anglicized compared to the other three actor roles. Where Sheire only spoke a few Spanish words here and there, I am glad that his replacement, Amaguaña, is a bilingual actor and was able to fluidly communicate to the young children in both Spanish and English. It is very important that bilingual artists be used for bilingual works. Amaguaña and Pineda-Fernández cleverly drew away from the hyper masculine roles of before when it came to Xpiyacoc and Xmucane. In the first and second remounts Creator and Shaper were in competition, their voices emitted in bravado, and we see the beginning of the world almost like a game. Yet, now, Xpiyacoc and Xmucane have entered in as companions, partners, parents to creatures that they have created.  What I thought was especially beautiful was that this show presented an example of queer love without being gaudy, but in a guiltless and endearing way.  Watching the two characters leave the stage arms around one another in their last scene, moved me personally and I am positive that children in the audience felt the same. It is amazing that Cackley was able to provide children who come from “non-traditional” families, an opportunity to see that not all families look the same.

(Photo: Pineda-Fernández in the original production as Shaper/Xmucane)

Music plays an integral part of the show, and I am very pleased that it was made more present, through singing, dancing, and the instruments brought onstage.  Yet, it seemed that there was no one to credit for this change.  Musical director, Mariano Vales was credited as leading music for the production, but composers were not named. Did Vales write the second Yucatec song? It was an exceptional addition to the show and makes me wonder if perhaps there had been Indigenx musicians at work that did not get their due diligence. GALA should respect it’s Indigenx artists, pay them for their unique work, and give them full recognition of their accomplishments.

One change that I hope is fixed in the next remount, is the adherence to diverse, bilingual actors of color that have Native American roots.  Once again, in the show, actor Carol Spring, has taken a critical role away from a female/non-binary Native American actor.  In other remounts she had played the role of Mother, which had seemed doubly strange then as well because Sheire had played the Father, yet their child was Native American. When put into the contemporary context of national governments removing Native American children from Indigenous homes and putting them into non-Native homes, to reinforce the ideal of ‘kill the Indian, not the man” (meaning, Native children can have more success once their Indigeneity is taken away), it raises the question: what was Co-Director David Lloyd Olson thinking? While Cackley/GALita allotted Spring to the animal roles in the show, it would be better overall to avoid redface altogether and have another Native American actor fill that role.  Due to the nature of the play, as a learning and cultural emboldening tool for youth, having a multilingual Native American cast would also help with more beneficial talkbacks after the show.

After the show was also a treat because it gave the youth their own time in which to appreciate their backgrounds. The ensemble lead a talk back with the schools, where they were tasked with answering questions about the production, puppets, Indigenx identity, Maya history, and much more. The cast was able to communicate in both Spanish and English to their audience members, however, I also believe that this could be an opportunity to reiterate the important aspects of the show and to see what was learned overall. Many of the children admitted that this was their first theatrical experience. The little brown faces that filled the audience space, sported large smiles- possibly because they are able to see and hear people that look and sound like them. Representation is really important. #RepresentationMatters

(Photo: Cackley and Pineda-Fernández in the original production as the Disobedient Child and Chac.)

When previously DCActorsOfColor reached out to GALita & Wit’s End, only the puppet company responded. It would be a positive thing for everyone if GALita Artistic Director Laura Quiroga made a statement regarding the misrepresentation of Mayan art and Native American artists in Mayan Fables. GALA & GALita must take responsibility for their actions. After seeing Mayan Fables a third time, now in it’s newest form, I will say that I was quite pleased with how this remount turned out, both aesthetically and culturally. The need to involve more Indigenx artists in Indigenx works is quite important, and I hope that in the future that GALita will strive for an even more diverse cast, that more authentic music can be incorporated (it really was quite enchanting) and that any further redface can be avoided altogether.  Beautifully done, Cackley can definitely call this show a hit in every sense, and I hope to see more from her and Wit’s End in the future!

An Afro-Mestiza Writer

[dcactorsofcolor]

Tell GALA Hispanic Theatre (Twitter: @TeatroGALA) that #RedfaceIsDisgrace and to #DecolonizeMayanFables. Casting European actors in Native American roles for Theatre for Young Audiences is disriminaiton against Native Artists and violence against Native American children.

[korraisnottan]

You know that Pablo Picasso was a person of color though, right???

Mary:Yeah but even PoC can be guilty of antiblack prejudice

[dcactorsofcolor]

Pablo Picasso was not a person of color. He was from a middle class Spanish family. 

Not all Spanish speakers are POC. Spanish is a European language anyway. 

[dcactorsofcolor]

On Women of Color Directing DC Theatre

As artists, feminists, and people of color working in the DC Metropolitan theatre scene, we have found that our experience working with female directors of color has been very limited. Our curiosity about female directors of color led us to a little bit of research on the topic.

How many women of color have been nominated for the Helen Hayes Award in Directing and Music Direction since it’s beginning? How many women of color have won the Helen Hayes Award for Directing or Music Directing? Is there a lack of female directors being nominated? Is there a lack of directors of color being nominated? Or is this simply another example of the double hurdle women of color must jump over very often in order to receive recognition? How many women of color were actually given the opportunity to direct for the 2014-2015 season?  Using HHA Nominees & Recipients advanced search options on TheatreWashington’s website, answers to these questions were found.

Since 1985, only three women of color have been nominated for the award for “Outstanding Director”(zero for “Outstanding Musical Director”). In 1997, Marsha A. Jackson-Randolph was nominated for “Outstanding Director, Resident Musical” for Studio Theatre’s HIP 2: BIRTH OF THE BOOM. In 1999, Seret Scott was nominated for “Outstanding Director, Resident Play” for Studio Theatre’s THE OLD SETTLER. In 2004, Regina Taylor was nominated for “Outstanding Director, Resident Musical” for Arena Stage’s CROWNS, becoming the first and only female of color recipient of the honor. There have been zero women of color who have been nominated for the Helen Hayes in Direction or Music Direction since Taylor’s win, including the 2015 Helen Hayes Awards.

(Photo Credit: Regina Taylor)

(Non-POC) Women have actively (though sparingly at times) been competitors in the Direction categories since the inception of the Helen Hayes Awards in 1985 when four of the six nominees for “Outstanding Director, Resident Production” were women. In 1988, Zelda Fichandler became the first woman to win the award. Several women have won since then including: Kasi Campbell, Mary Hall Surface, Marcia Milgrom, Toby Orenstein, Regina Taylor, Jane Wagner, Mary Zimmerman, and Joy Zinoman. Toby Orenstein and Joy Zinoman have both been nominated 10 times for the award.

For the 2015 Helen Hayes Awards, seven women have been nominated for Musical Direction or Director of a Play or Musical. In the “Outstanding Musical Direction-HELEN Production”  category, Laura Brady earns her first Helen Hayes Nomination for her work in DANI GIRL at Unexpected Stage Company. In the “Outstanding Musical Direction-HAYES Production” category, Mary-Mitchell Campbell (along with Gabriel Mangiante) earns her first Helen Hayes Nomination for her work on BEACHES at Signature Theatre. In the “Outstanding Director of a Musical-HELEN Production” category, Melissa Baughman earns her first Helen Hayes Nomination for her work on SWEENEY TODD: THE DEMON BARBER OF FLEET STREET at Landless Theatre Company. In the “Outstanding Director of a Play-HELEN Production” category, Holly Twyford earns her 18th Helen Hayes Nomination, but her first one for directing, for her work on THE AMISH PROJECT at Factory 449. Her previous 17 nominations were for “Outstanding Lead and Supporting Actress in a Resident Play” except for her first nomination which was for “Outstanding Lead Actress in a Resident Musical”. In the “Outstanding Director of a Play-HAYES Production” three women are nominated: Maria Aitken for her work on PRIVATE LIVES at Shakespeare Theatre Company, Jessie Austrian (with Ben Steinfeld) for her work on THE TWO GENTLEMEN OF VERONA at Folger Theatre, and Kathryn Chase Bryer (with Eric J. Van Wyk) for her work on THE BFG at Imagination Stage. This is both Maria Aitken and Jessie Austrain’s first Helen Hayes Nomination. This is Kathryn Chase Bryer’s third nomination, and second for Directing (the first was for Director of a Resident Musical- RAPUNZEL at Imagination Stage in 2013). Of the 33 nominees in the 6 directing categories, only 7 of those nominated were women: 21% female, 79% male.

Men of Color have long been competitors in the Direction categories as well.  In 1988, the first man of color to be nominated (and win) the award was Lloyd Richards for his work on Arena Stage’s JOE TURNER’S COME AND GONE. Since then, Richards has been nominated 2 more times, and won once more. Several other men of color have been nominated and have won as well, such as: Thomas W. Jones, II who has harnessed a total of 7 nominations and 2 wins; William Knowles who has received 4 nominations and one win; and Anderson Edwards & William F. Hubbard who have both been nominated and won once.

For the 2015 Helen Hayes Awards,  two men of color have been nominated for “Outstanding Musical Director or Director”. Eric Ruffin is nominated for “Outstanding Director of a Musical-HELEN Production” and e’marcus Harper-Short is nominated for “Outstanding Musical Direction-HELEN Production”, both for their work on Theatre Alliance’s BLACK NATIVITY. This is both of their first Helen Hayes Nomination. Of the 33 nominees in the 6 directing categories, only 2 of those nominated were people of color: 6% POC, 94% non-POC.

It’s clear that Women of Color have not fared as well as non-POC women nor Men of Color in Direction. But why? Why have women of color not been able to achieve the amount of recognition that their non-female, non-POC peers have? Perhaps opportunities aren’t as readily available for women of color, and therefore the chances of being nominated are much lower.

Looking at the 2014-2015 season, it’s clear opportunities are not given to women of color. There are 209 shows this season whose directors have been announced. Fourteen of those shows are announced to be directed by 13 women of color. Jennifer L. Nelson, is announced to be directing two productions, THE CALL at Theatre J and DRIVING MISS DAISY at Ford's Theatre (After the termination of Ari Roth from Theatre J, Jennifer L. Nelson turned down directing THE CALL in solidarity and support of Ari Roth. The new director of the show is Shirley Serotsky, Theartre J’s Acting Artistic Director.). The 13 shows are, in order of performance time are:

Opening in September were No Rules Theatre Company's SEVEN GUITARS Directed by Michele Shay (the show ran September 10-28), Shakespeare Theatre Company's THE MAGIC FLUTE & VENUS AND ADONIS Music Directed by Pauline Malefane (the show ran from September 12-21), Compass Rose Theatre's  A RAISIN IN THE SUN  Directed by Lottie Porch (the show ran September 19-October 19), and Ford’s Theatre's DRIVING MISS DAISY Directed by Jennifer L. Nelson (the show ran September 26-October 26).

Opening in October was Forum Theatre's HOW WE GOT ON Directed by Paige Hernandez (the show ran Oct 30-Nov 23).

Of those shows, only SEVEN GUITARS was able to get any nominations.They received 4 nominations for “Outstanding Lead & Supporting Actors & Actresses in a Play - HELEN Production”.

Opening in January was Forum Theatre's THE T PARTY Written and Directed by Natsu Onoda Power (the show ran January 2015).

Opening in February are Kennedy Center TYA's ZERO HOUR: TOKYO ROSE’S LAST TAPE, Conceived, written, and directed by Miwa Yanagi (the show ran February 6-7), and Signature Theatre's KID VICTORY Directed by Liesl Tommy (the show runs February 17-March 22),

Opening in March is the collaboration between GALA Hispanic Theatre’s GALita/ Wit’s End Puppets' MAYAN FABLES/FÁBULAS MAYAS Written and Directed by Cecilia Cackley (the show runs March 9-21).

Opening in April is Arena Stage's THE BLOOD QUILT Directed by Kamilah Forbes (the show runs April 24-June 7).

Opening in May is Forum Theatre's THE SHIPMENT Directed by Caroline Stefanie Clay (the show runs May 21-June 14).

Also announced are InterAct Story Theatre's HARRIET TUBMAN: THE CHOSEN ONE Staring, Written and Directed by Gwendolyn Briley Strand, and Live Garra Theatre's AIN’T MISBEHAVIN’ Directed by Wanda Whiteside.

theatreWashington should keep a special eye out for these productions this year.

The shows than ran from September 2014 to January 2015 have received great reviews for their direction. Here are some things said about the directors:

On Michele Shay directing No Rules Theatre Company's SEVEN GUITARS

"Her direction of Seven Guitars is a sturdy bridge to the spiritual world Wilson created for his fictionalized Pittsburgh."

- DC Metro Theater Arts on SEVEN GUITARS

"No Rules Theatre Company’s production debuts at Signature Theatre under the direction of original Seven Guitars cast member Michele Shay, who was nominated for a Tony Award for her portrayal of Louise in the 1996 Broadway production. Her experience and the smarting wounds of Ferguson will make the play resonate with audiences nearly seven decades after the scene was set."

-Washington City Paper on SEVEN GUITARS

"Michele Shay’s ability to conceptualize Wilson’s universal language of love, shared dreams, spirituality and the blues projected powerfully by a strong and spirited cast is in some ways unprecedented."

-MD Theatre Guide on SEVEN GUITARS

(Photo Credit: Teresa Wood)

On Pauline Malefane music directing Shakespeare Theatre Company's THE MAGIC FLUTE & VENUS AND ADONIS

"Mozart’s score is gloriously reinterpreted by Co-Music Directors Malefane and Mandisi Dyantyis, with an orchestra of traditional African instruments—marimbas, drums, and South African percussion—played transcendently by the entire company."

-MD Theatre Guide on THE MAGIC FLUTE

"The radiant score, composed by the hugely talented music co-directors Pauline Malefane and Mandisi Dyantysis, cradled and rocked the audience throughout, with whispers and shouts and wails and rejoicings."

-MD Theatre Guide on VENUS AND ADONIS

"It is a fascinating aural experience – and then there is the music! Magnetic orchestrations by co-Music Director and Conductor Mandisi Dyantyis, from the eight wooden bar marimbas being played and the throbbing percussion of African drums, steel barrels, and the toasty, ebullient sound from the repeated blow of the kudu horn is a continuous joy ride. The unique mood and awakened atmosphere create a natural connection to one’s spirit."

- DC Metro Theatre Arts on VENUS AND ADONIS

(Photo Credit: Keith Pattison)

On Lottie Porch directing Compass Rose Theatre's  A RAISIN IN THE SUN  

"Producer Lucinda Merry-Browne and director Lottie Porch are currently presenting A Raisin in the Sun at Compass Rose Theater in Annapolis, MD and, as always, tears flowed before leaving the theatre. "

-MD Theatre Guide on A RAISIN IN THE SUN

"As directed by Lottie Porch and acted with grace and passion by a gifted ensemble, A Raisin in the Sun is a theatrical gift to treasure."

- DC Theatre Scene on A RAISIN IN THE SUN

"The emotionally lacerating production of Compass Rose Theater’s meaningful season opener is a poetic stroke of directing artistry in the capable hands of Lottie E. Porch-Bright. No matter how many times you have read the iconic novel or have seen a production of the play, Compass Rose’s production of A Raisin in the Sun is a stirring example of how you can never get enough of a good thing."

-DC Metro Theatre Arts on A RAISIN IN THE SUN

"With the soulful backdrop of the blues being played, Porch-Bright effectively executes a stylistic stroke of visual imagery with a vivid collage prelude of portrait character moments on stage before one word is uttered."

- DC Metro Theatre Arts on A RAISIN IN THE SUN

(Photo Credit: Compass Rose Theatre Company)

On Jennifer L. Nelson directing Ford’s Theatre‘s DRIVING MISS DAISY

“Director Jennifer L. Nelson doesn’t soup up the stage with anything extraneous."

- The Washington Post on DRIVING MISS DAISY

“one has to appreciate Director Jennifer L Nelson's decision to let the enduring work speak for itself."

-BroadwayWorld.com on DRIVING MISS DAISY

“Director Jennifer L. Nelson, aside from assembling a perfect cast, keeps the action moving with brevity that allows each snapshot scene to unfold efficiently."

-DC Theatre Scene on DRIVING MISS DAISY

“Nelson’s Driving Miss Daisy rolls start to finish like a well cared for Packard, with satisfaction and without many bumps or unwanted breakdowns."

-MD Theatre Guide on DRIVING MISS DAISY

(Photo Credit: Ford's Theatre)

On Paige Hernandez directing Forum Theatre’s HOW WE GOT ON

“Director Paige Hernandez, whose work frequently merges hip hop, dance, theater, poetry and arts education, expertly sets the emotional stakes of teens Hank, Julian and Luann.”

- BroadwayWorld.com on HOW WE GOT ON

“Director Paige Hernandez is as much choreographer as director.”

- DC Metro Theatre Arts on HOW WE GOT ON

“Hernandez, who has often explored the theater/hip-hop continuum as a choreographer, gives such moments a confident stylized physicality:”

- The Washington Post on HOW WE GOT ON

“Paige Hernandez’s production pulses with youthful energy, particularly once Kumasi, Mena, and Johnson—each one radiating a charisma measurable in megawatts—get to rhyme and dance. (Hernandez did the choreography and, with Thomas Sowers, the rap coaching, and the music numbers are buoyant and strong.) “

- Washington City Paper on HOW WE GOT ON

(Photo Credit: Noe Todorovich Photography)

On Natsu Onoda Power directing Forum Theatre’s THE T PARTY

“ The remarkably inquisitive performance, written and directed by Power and presented by Forum Theatre at the Round House Theatre’s Silver Spring stage through Saturday, is a kaleidoscopic exploration of gender issues”

- The Washington Post on THE T PARTY

“Writer/Director Power riffs imaginatively on real life stories of actual residents of DC (plus said denizens of the deep), and the storytelling she stages is as captivating as it is cathartic.”

- DC Metro Theatre Arts on THE T PARTY

“Artistic Director of the Studio Theatre, David Muse has been quoted as saying that Natsu Onoda Power is “doing some of the most exciting work in D.C.” and I couldn’t agree more. The T Party is the most original and thought-provoking work I’ve seen all season. It is timely, sensitive and respectful of the LGBT community. Most importantly, it dares you (without preaching) to be a more compassionate, educated, authentic, and empowered human being.”

- MD Theatre Guide on THE T PARTY

“If you can’t make it to the show before Saturday, keep your eyes peeled eagerly for Onoda Powers’s next production. But if you can make time to catch this fun and insightful civic project, you’ll see things you’ve never seen imagined onstage before.”

- DC Theatre Scene on THE T PARTY

“It is the auteur herself, however, Natsu Onoda Power, who deserves the highest praise for bringing to life as entertaining and original a production as The T Party. Given her directorial successes of Yellow Face and Astro Boy, it is safe to say that Ms. Power has moved beyond the amorphous and somewhat condescending title of “promising young artist” and now securely occupies an essential place in the DC theatre scene. All of us, whether as artists or audiences, should hope and pray that Power decides to stay here and continue to produce thought-provoking and uniquely theatrical work.”

- DC Metro Theatre Arts on THE T PARTY

(Photo Credit: Forum Theatre)

These six successful, phenomenal women and all the other women of color directing plays, musicals, and children's shows this season deserve our applause. They are an inspiration to all the women of color in our area who wish they could direct a professional theatre production, but simply don’t think it possible. Even those that know it is possible for them, it is a very nice sight to see someone representing for the brown girls. Hopefully one day, a brilliant woman of color could follow in the footsteps of Regina Taylor and win the esteemed award once more. 

It’s important for the DC Professional Theatres to support the diversification of the community. Artistic Directors can help by picking plays by diverse playwrights and hiring diverse directors for those productions. Diverse directors will in turn hire diverse actors and designers. Providing opportunities for women of color to direct will bring forth a stronger community, and a wave of artistic resurgence.

To all the brown girls: keep doing and improving your art. You are the present of DC theatre and you deserve to be heard.

[dcactorsofcolor]

Reply to ihavetosaythis2

On the morning of February 3rd, Reddit User ihavetosaythis2 posted a commentary regarding Washington DC’s small professional theatre companies. The posting criticized the legitimacy and professionalism of DC’s small professional theatre companies and equated their ethic and quality to that of community theatre.

This is a piece by piece response to that message:

“Dear DC Theatre, We’re a group of actors, directors and writers. We’d tell your our names, but you’d retaliate."

Hello ihavetosaythis2. It’s okay that you won’t say your names. There is nothing wrong with anonymity. There is also nothing wrong with the community retaliating if done in a respectful, knowledgeable, and understanding way. It’s all part of communication, which is very important for any community to survive.

“Still, we have a message: It’s time to get over yourself.”

Things got heated real quick. Okay… does this mean your group does not consider yourselves part of the DC Professional Theatre Community?

“Let’s review a little bit. In the last year or so, we’ve seen the artistic directors of DC’s many so-called “professional” theaters cry that a local awards organization (that no one outside of DC cares about or has even heard of) thinks you should pay your actors.”

Yes, there has been a lot of talk about the new rules for Helen Hayes Awards eligibility. Some people from companies such as Molotov Theatre Group, Pallas Theatre Collective, and other individual artists have spoken out about the new ruling. Many have stated their beliefs on what would be best for the community in respectful ways, at no time demeaning the award granting institution who offered the new ruling. There really is no need to insult theatreWashington and the Helen Hayes Awards for no apparent reason.

“You’re aghast? Your budgets will increase 60 to 80 percent per show! Last time we checked, guys, DC, Maryland, Virginia and the federal government all have minimum wage laws. Why are you exempt from these again?”

The minimums are substantially below DC minimum wage, and with good reason. The arts are not supported as other areas are, and individual non-profit companies do not get subsidized by the government. The arts are exempt because of this. It isn’t a great comparison because most of us know the status the arts have in our nation. Having distinction between Equity productions, minimum wage non-Equity productions, and low wage non-Equity productions is great because it gives all the company’s more balanced competition.

“And by the way, you’re not a “professional” theatre because you toss $5 a show at your actors at the end of a three-week run. Professional theaters use professional actors, compensated at a professional level. You’re glorified community theatre, nothing more.”

There are different levels of professional theatre. Some companies can afford to pay professionals for professional work, a small stipend. Others can afford much larger wages. Some can afford Equity wages. There is nothing wrong with that diversity. The creation of new professional theatres (who can’t pay the minimums required by theatreWashington) should be encouraged, and collaboration between already established companies applauded. With that being said, theatreWashington isn’t requiring theatres to have a minimum wage. They are simply making it a requirement for eligibility for their awards. theatreWashington is not the All Deciding God of what is DC Theatre. They are an award granting institution with their own personal requirements for eligibility. They are making a distinction for Non-Equity theatres that the companies can choose to follow or not follow. Just because a small theatre company can’t afford the $75 per week minimum wage ($150 per week during 8 performance weeks) doesn’t mean that they aren’t a professional company or that the art isn’t as important; it simply means they aren’t eligible for Helen Hayes Awards. Money is part of what makes professional theatre “professional”, but there are other factors to what differentiates professional from community theatres. There is a different amount of artistic leadership and general talent in para-professional theatre productions than there are in community theatre shows; anyone who has worked at any local community theatre and at the (para-)professional level can tell you that.

“Maybe if you cared half as much about the actors you exploit as you did a Helen Hayes Recommended badge, you’d have enough self-awareness to see how ridiculous you sound.”

It’s an honor and a privilege to be recognized by a locally organized award granting group. theatreWashington does not need to exist. Their recommendations and awards don’t do anything but provide artists with badges of honor and open opportunities for future work in the DC theatre scene. Most companies would love to pay their artists more… that would mean they are gaining more funds themselves. Sure, there may be some companies that exist that exploit their artists, but to generalize all small professional theatres in DC as such doesn’t make sense. If a company has administered unethical practices towards its artists, it’s our responsibilities as members of this community to call them out on the issues so that they can be addressed. Who do you feel has acted as such?

“And let’s talk about the spectacular theatre you’ve produced, lately, dear glorified community theaters. Take say, the happy little theater company everyone loves that, when not running snappy little pirate-themed shows, is busy producing works that blatantly — without remorse, shame or even subterfuge — rip off acclaimed graphic novels or are built almost entirely on the copyrighted music of other artists.”

Many playwrights do adaptations. It’s true, there can be a fine line between adaptation and plagiarism. If that’s the case, it’s important as members of this community to call out the companies producing that work (possibly during rehearsal process or run of the show) to make a statement regarding the accusations. What exactly do you feel Flying V,with their “snappy little pirate-themed shows” has done? What authors have they plagiarized, and not simply adapted?

“Cool, huh? Most people figure out how to steal without others noticing, but not this theater. They’re proud of their disrespect for other artists. The flaunt it. And they get awards and critical attention for it. No one even bats an eye.”

What did Flying V do to you exactly? It’s okay to have the conversation, but these attacks seem to come out of nowhere… and with spite. For the sake of your argument, it may be better to list examples of where Flying V has offended. Adaptations are fair game, if done lawfully. Where has Flying V failed?

“There was that great show about baseball and being gay that was pretty almost relevant when it was written 10 years ago, filled with full-frontal male nudity that had no bearing on the plot.”

To say that Take Me Out has no relevance today is not only ignorant, it is disrespectful to LGBT youth, athletes of color, and diversity in general. There are countless amount of LGBT young athletes of color who could identify with 1st Stage’s production, and thanks to great artists of color such as Jason Wright, Ray Navorio, Steven Soto, Devyn Tinker, and Jacob Yeh; as well as the great work by their designers of color: Ruthmarie Tenorio (set designer), Jane Chan (lighting designer), and Joseph Michael Jones (stage manager). As for the full-frontal male nudity having no bearing to the plot- the show is set in a men’s baseball locker room… nudity is right at home in Take Me Out.

(Photo Credit:Teresa Castracane)

“That’s the definition of gratuitous. It didn’t help that you cast actors who, for the most part, looked like they could barely get off a couch let alone run ‘round a baseball diamond.”

To Straight White Cisgender Men, of course penis is going to be something that they don’t want to see at the theatre and would consider gratuitous. These same people would say that there is nothing wrong with having women do the same thing. For them, the female body has been reserved for the exploitation of the male gaze, meanwhile the male body is preserved as untouchable. It’s a qualm that many opposed to full-frontal male nudity hold. Furthermore, baseball players come in many shapes and sizes. Men such as Prince Fielder prove that baseball players come in all shapes, sizes,colors, and backgrounds.  All of the men in Take Me Out looked believable as baseball players.

(Photo Credit: ESPN The Magazine)

“Actors who were cast for their connection to the director or their level of status in DC’s insular theater scene (have you heard the one about actors from New York complaining about how cliquish and ridiculous DC’s theater community is? How they’ve gone up to Off-Broadway and Broadway in a year’s time, but couldn’t get cast in DC to save their lives? — that’s not a myth),”

Take Me Out Director Doug Wilder’s network of artists is being put to question? The circumstances surrounding casting of Take Me Out is something only the director of the show, the company’s Artistic Director, and other 1st Stage Casting Personnel, can speak on. Comments can be made about it, but ultimately, their decisions regarding the casting of Take Me Out was theirs to make. For a show with such a diverse ensemble, Doug Wilder and his team did an awesome job assembling it.  

(Photo Credit:Teresa Castracane)

“ actors whose emotional ranges amounted to zero to screaming with no in between. Indicating and theatrical, not real nor honest. “

Disrespecting the artists in Take Me Out doesn’t really prove your point about anything. Where are the facts about these particular artists performances?

“But who the fuck cares about that, right? All you want to know is if Helen Hayes is going to tell people to see your show.”

Assuming theatreWashington isn’t simply handing out Helen Hayes Recommendations, talented artists creating good theatre is required to get the distinction from the organization. A Helen Hayes Recommendation is great advertisement for theatres who are producing great work but aren’t generating full audiences. It’s a great thing to get the commendation from theatreWashington. But, to reiterate: good theater is required.

“We’re used to seeing these kinds of shows in DC’s theaters, though— our stages are filled with actors who are bland, dry, vague and meandering or think the only way to get emotional is to scream and shout. Talk, talk, talk. Oh, I’m supposed to be angry now. I’ll shout! Talk, talk, talk, shout, shout, shout. This kind of mediocrity is celebrated here.”

Criticizing other’s work (and speaking generally about an entire community you are a part of) is only relevant if you have the proof, and the conviction to back it up. Neither of which you presented. You haven’t convinced anyone that DC’s non-Equity and Equity professional productions are mediocre at best.

“Cast the same actors over and over and over again because they’re in the clique,”

Are you still talking about Take Me Out in particular? I’d kill to see Jason Wright in more productions. Did you see him in Pinkalcious at Adventure Theatre MTC? Or in Choir Boy now playing at Studio? Or maybe you caught him in the ensemble of Studio Theatre’s 2nd Stage’s The Rocky Horror Show? 

(Photo Credit: Igor Dmitry. Jason Wright forward left.)

Did you see Jacob Yeh in Imagination Stage’s Anime Momotaro? Or in Theatre J’s Yellow Face? Or maybe you caught him in Cinderella: The Remix? 

(Photo Credit: Margot Schulman. Jacob Yeh, front center)

Did you miss Steven Soto in NextStop Theatre Company’s Go, Dog, Go, or in Good Good Trouble on Bad Bad Island? These talented actors deserve to get the work they do, and more! The DC theatre community is already lacking in diversity. To eliminate these actors simply because they have been cast before is irresponsible. DC needs to embrace these actors and provide more opportunities for these actors to be showcased. If you aren’t talking about Take Me Out, then which actors at which small theatres are you talking about?

(Photo Credit: NextStop Theatre Company)

“ and you get actors who haven’t worked on their craft since their first run at Flying V or in the Source Festival, actors who wouldn’t know what a technique was (and don’t care to) if it fell on them from the lighting grid during a show.”

This is a jab at DC’s actor training programs: Theatre Lab School of Dramatic Arts, Studio Theatre Acting Conservatory, National Conservatory of Dramatic Arts, Academy of Classical Acting, and the other Bachelor’s programs in the DC/MD/VA area at Howard University, University of Maryland, George Mason University, George Washington University, and others. To say that these education organizations are not properly training local artists is to spit at the hard work and dedication of the countless educators who have spent their lives perfecting their crafts and are inspiring the future of theatre on this planet.

“Actors whose emotional preparation amounts to getting to the theater 15 minutes before curtain.”

Clearly you have worked with these artists. Why not share your experience? If you choose to remain anonymous, then provide as much detail as you possibly can. Or perhaps, talk to the individuals on a one-on-one basis. Tell them how their behavior affects your art, and how their lack of preparation hurts the story the company is trying to tell to our community. Don’t generalize DC theatre artists as non-caring and neglectful of our art.

“We could go on with examples (don't get us started on the exploitation-mill that is the revenue-generating Capital Fringe Festival).”

It would be great to hear some examples of how awful DC theatre is. As for Capital Fringe Festival, it is an opportunity for new content creators to showcase their work. CapFringe is a place where actors, directors, designers, playwrights, and nearly any other artists can go to experiment with ideas not readily accepted by the mainstream theatre community. Money will always be an issue, especially for those who don’t have it (read: many that do CapFringe), so perhaps it would be great for your group and others who may be interested to begin a new, FREE, well-organized project similar to the Capital Fringe Festival, where new artists and developed artists can collaborate and make the future of DC theatre. A festival where individual artists can put up experimental shows for a low cost 1 or 2 weekend competition. Maybe one similar to the already established NVTA One Act Play Festival, for Northern Virginia Community Theatres. Or perhaps a combination of CapFringe and NVTA One Act Festival, one where companies can have a couple runs of the show to gain revenue and compete in a community-based award ceremony. The ideas could go on.

“But we don't think we have to. DC theater lives inside a bubble that’s hostile to outsiders, that turns to the same talent (loosely defined) over and over, that lacks any kind of literary range (this play has naked men, oh we’ll get so much press! this play is non-linear and experimental, we’re so avant garde! I can’t write to save my life so I’ll copy stuff from an acclaimed graphic novel and call it “adapted"), that disrespects and exploits artists on so many levels, that has set its sights on one singular award to the detriment of everything else”

Disregarding the insults. The Helen Hayes Awards are not the be all of DC theatre. Most companies just wish to put on great theatre for the community. Awards are supplementary. (Read: If the Helen Hayes Awards ceased to exist, DC professional theatre would go on.)

“(why should an organization named after someone no one’s ever heard of have so much control over you?).”

There is no need to be disrespectful to the legacy of Helen Hayes MacArthur in the US Theatre. She was named the "First Lady of the (US) American Theatre" and was one of twelve people who have won an Emmy, a Grammy, an Oscar and a Tony Award (an EGOT). She has a hospital named after her, and has had two theatres in New York renamed after her. Not to mention she has a postage stamp… so yes, people have definitely heard of Helen Hayes.

(Photo Credit: USPS)

“A bubble that is so bland, so pretentious and so navel-gazing it can’t even recognize its own deep mediocrity.”

Yes, DC Theatre has it’s issues. Instead of out of the blue attacks on artists’ talents and integrities (both specific and general), it is more productive to provide solutions to the issues the DC theatre community has. We as a community should raise initiatives to encourage emerging playwrights, and self producing artists to build a more diverse, artistically challenging, and embracive community. In conclusion, small professional theater companies should organize together in a group such as the Independent Theatre Coalition of Washington and come up with a new award granting program for the theatres who can’t afford to pay the theatreWashington minimum wage requirements. Perhaps the coalition of small theatre companies can resurrect the Mary Goldwater Awards and reinvent them for the main purpose of being an award granting institution dedicated to the advancement of DC’s small professional theaters and artists. A new award system would strengthen the community and celebrate more artists at levels sometimes ignored. ihavetosaythis2 should raise some questions to Flying V and Doug Wilder regarding this message they sent out to the community in a productive, respectful way. No matter what conversation arises from that, it is important to remember that theatreWashington has made the decision to grant Flying V the John Aniello Award for Outstanding Emerging Theatre Company, and to grant Doug Wilder a nomination for The Robert Prosky Award for Outstanding Lead Actor in a Play-HELEN Production. If ihavetosaythis2 feels these are mistakes, they should contact theatreWashington with their concerns. Keep the conversation going- theatreWashington encouraged it.

Thanks ihavetosaythis2 for having this conversation with the community. -DC Actors of Color

[dcactorsofcolor]

#2015HHA Breakdown

The theatreWashington 2015 Helen Hayes Awards Nominations have been named… And sadly, diversity took a dive once more.

Last year, Artists of Color did not fare too well at the Helen Hayes Awards, being nominated for only 24% of the awards and winning about 28% of the awards. This year, with the addition of the split between non-Equity and Equity majority productions into the HELEN and the HAYES categories, more opportunities were opened up for Artists of Color at both scales of the professional level to receive recognition. However, only 13% of the nominations were given to Artists of Color. 13% percent- that’s about half of last year.

Out of 208 possible individual nominations, only 28 of them went to Artists of Color: 14 women and 14 men.

One of those nominations was for “Outstanding Performer, Visiting Production” given to Joseph Marcell for his work in Folger Theatre’s King Lear. Joseph Marcell is probably best known for his portrayal of Jeffery on the 90s’ comedy “The Fresh Prince of Bel-Air”. The Washington Post called his performance a " scrupulous rendering of the vain and shortsighted king". Also nominated in his category are two of Marcell's King Lear cast mates, and even a DC local.

(Photo Credit: Joseph Marcell and Rawiri Paretene in King Lear. (Ellie Kurttz) ) In the HELEN categories (mostly non-Equity production), 8 Male Artists of Color were nominated, and 10 Female Artists of Color were nominated. In the HAYES categories (mostly Equity production), 5 Male Artists of Color were nominated, and 4 Female Artists of Color were nominated.

Theater Alliance’s Black Nativity came in with 8 individual nominations for Artists of Color (4 of which went to Men, and 4 of which went to Women). No Rules Theatre Company’s Seven Guitars came in with 4 nominations (split evenly between male and female Artists). Two productions received two nominations each for Artists of Color: Arena Stage’s Mother Courage and Her Children and Woolly Mammoth Theatre Company’s We Are Proud To Present… And eleven productions each garnished 1 nomination for an Artist of Color: Adventure Theatre MTC’s Miss Nelson is Missing, Ford’s Theatre’s Violet, The Kennedy Center’s Side Show, Round House Theatre’s Two Trains Running, Arena Stage’s Five Guys Named Moe, The Keegan Theatre’s Hair, WSC Avant Bard’s Visible Language, Forum Theatre/NextStop Theatre Company co-production Gideon’s Knot, Synetic Theatre’s The Island of Dr. Moreau, Signature Theatre’s Elmer Gantry, and Woolly Mammoth Theatre Company’s Marie Antoinette.

Black Nativity took in five acting nominations. Three Female Artists of Color were nominated in the “Outstanding Lead Actress in a Musical- HELEN Production” category. Ny'a Johnson, Thomascena Nelson, and Krislynn Perry were all nominated for their work. Two Male Artists of Color were nominated in the “Outstanding Lead Actor in a Musical-HELEN Production” category. Both  G. Carlos Henderson and Roy Patten Jr. were nominated. DCTheatreScene says " each one of them... were capable of raising the roof of the Anacostia Playhouse". Clearly, a very talented cast.

(Photo Credit: The ensemble of Black Nativity (center) G. Carlos Henderson and Ny’a Johnson. (C. Stanley Photography) )

Two Female Artists of Color were nominated in the “Outstanding Supporting Actress in a Musical- HELEN Production” category. Ines Nassara was nominated for her work on The Keegan Theatre’s Hair, and Sarah Anne Sillers was nominated for her work in WSC Avant Bard’s Visible Language.

Two Female Artists of Color were nominated in the “Outstanding Lead Actress in a Play- HELEN Production” category. Joniece Abbott-Pratt was nominated for No Rules Theatre Company’s Seven Guitars, and Caroline Stefanie Clay was nominated for Forum Theatre/NextStop Theatre Company’s co-production of Gideon's Knot.

Aside from the five nominations received for the lead actors and actresses in Theatre Alliance’s Black Nativity, the production also received nominations for it’s three Leaders of Color. Eric Ruffin is nominated for “Outstanding Director of a Musical-HELEN Production”, e’marcus Harper-Short is nominated for “Outstanding Musical Direction-HELEN Production”, and Princess Mhoon is nominated for “Outstanding Choreography in a Musical-HELEN Production”.

Aside from Abbott-Pratt’s nomination, Seven Guitars also received nominations for Wayne Bennett (The James MacArthur Award for Outstanding Supporting Actor in a Play-HELEN Production), Ro Boddie (The Robert Prosky Award for Outstanding Lead Actor in a Play-HELEN Production), and  Bonita Brisker (Outstanding Supporting Actress in a Play-HELEN Production). DC Metro Theatre Arts praises the entire production, saying "the No Rules production of Seven Guitars is a vivid portrayal of deeply drawn characters colliding with so many forces stacked against them. Their blues are not merely a juke joint score or Highway 61 revisited, but real hurting blues."

(Photo Credit: The cast of Seven Guitars. (Teresa Wood) )

Arena Stage’s Mother Courage and Her Children’s two nominations for Artists of Color went to Roc Lee (along with Composer James Sugg) for “Outstanding Sound Design-HAYES Production”, and David Leong for  “Outstanding Choreography in a Play-HAYES Production”.

Woolly Mammoth Theatre Company’s We Are Proud to Present... ‘s two nominations for Artists of Color went to Dawn Ursula for “Outstanding Lead Actress in a Play-HAYES Production”, and Paige Hernandez (along with Fight Choreographer Joe Isenberg) for “Outstanding Choreography in a Play-HAYES Production”.

Three other Artists of Color were also nominated in the acting categories: Kevin McAllister was nominated for “Outstanding Lead Actor in a Musical-HAYES Production”  for his work on Ford’s Theatre’s Violet, Michael Anthony Williams was nominated for “The James MacArthur Award for Outstanding Supporting Actor in a Play-HAYES Production” for his work on Round House Theatre’s Two Trains Running, and Nova Y. Payton was nominated for “Outstanding Supporting Actress in a Musical-HAYES Production” for her work on Signature Theatre’s Elmer Gantry.

Two other Artists of Color were also nominated for a Choreography award: Michael J. Bobbitt was nominated for “Outstanding Choreography in a Musical-HELEN Production” for his work on Adventure Theatre MTC’s Miss Nelson is Missing, and Byron Easley was nominated for “Outstanding Choreography in a Musical-HAYES Production” for his work on Arena Stage’s Five Guys Named Moe.

Two Artists of Color were nominated for the “Outstanding Costume Design-HAYES Production” award: Paul Tazewell for his work on The Kennedy Center’s Side Show, and Helen Huang for her work on Woolly Mammoth Theatre Company’s Marie Antoinette,

Synetic Theater received 1 Helen Hayes nomination for an Artist of Color: Multimedia Designer Riki K. (along with Lighting Designer Brittany Diliberto) for “Outstanding Lighting Design-HELEN Production” for her work on The Island of Dr. Moreau.

In general, Male Artists fared better than Female Artists who only took in less than 36% of the individual nominations. European-descent Male Artists received more than 57% of the nominations, trailed by European-descent Female Artists who received only about 28% of the nominations. Both Male and Female Artists of Color received less than 7% of the nominations each.

Two Deaf Actors have been nominated as well. Miranda Medugno was nominated for “Outstanding Supporting Actress in a Musical-HELEN Production” for her work on WSC Avant Bard‘s Visible Language,  and James Caverly was nominated for “The Robert Prosky Award for Outstanding Lead Actor in a Play-HAYES Production” for his work on Studio Theatre’s Tribes.

There were 17 categories that lacked diversity. There were no Artists of Color nominees in the “Outstanding Supporting Actress in a Play-HAYES Production”, “Outstanding Supporting Actor in a Musical-HELEN Production”, “Outstanding Supporting Actor in a Musical-HAYES Production”, “Outstanding Lead Actress in a Musical-HAYES Production”, “The Robert Prosky Award for Outstanding Lead Actor in a Play-HAYES Production”, “Outstanding Sound Design-HELEN Production”, “Outstanding Lighting Design-HAYES Production”, “Outstanding Costume Design-HELEN Production”, “Outstanding Set Design-HELEN Production”, “Outstanding Set Design-HAYES Production”, “Outstanding Choreography in a Play-HELEN Production”, “Outstanding Musical Direction-HAYES Production”, “Outstanding Director of a Musical-HAYES Production”, “Outstanding Director of a Play-HELEN Production”, “Outstanding Director of a Play-HAYES Production”,  “The Charles MacArthur Award for Outstanding Original New Play or Musical”, and “Outstanding Play or Musical Adaptation” categories. Five of the design categories ("Outstanding Sound Design-HELEN Production", "Outstanding Sound Design-HAYES Production", "Outstanding Lighting Design-HAYES Production", "Outstanding Set Design-HAYES Production", and "Outstanding Director of a Musical-HAYES Production" plus the 3 productions of just Men) were made up of all men. None of the men in those 5 categories, save Roc Lee in the “Outstanding Sound Design-HAYES Production’ category, were Artists of Color. That’s nearly eight full categories dedicated solely to the work of White Male Actors. Artists of Color were nominated in 20 of the 37 individual Artist categories. 13 of those categories only had 1 Artist of Color nominated each. Half of the nominations for Artists of Color were split into 7 categories, with “Outstanding Lead Actress in a Musical-HELEN Production” being the most popular category for Artists of Color.

There are several Artists of Color that produced work this past year that weren’t recognized by theatreWashington’s Helen Hayes Awards nominations. Three productions in particular, Forum Theatre’s How We Got On, Theatre J’s Yellow Face, and Olney Theatre Center's Once On This Island, which all featured several Artists of Color, were not nominated for a single award.

Forum Theatre’s How We Got On should have received at least one nomination. Though all artists did well, Alina Collins Maldonado and Manu Kumasi should have been nominated for “Outstanding Supporting Actress in a Play-HELEN Production” and “The Robert Prosky Award for Outstanding Lead Actor in a Play-HELEN Production “ respectively. The Washington Post say "Kumasi’s channeling of the excitable Hank is a highlight of this touching and funny, if not wholly gripping, production,". Also Paige Hernandez’s work should have garnered her the “Outstanding Director of a Play-HELEN Production “ nomination. How We Got On’s 4 person ensemble (which also included Thony Mena and Kashayna Johnson) represented some of the best work being presented  in the DC Theater non-Equity level. How We Got On should have been nominated for “Outstanding Ensemble in a Play-HELEN Production” and for “Outstanding Play-HELEN Production”. This production should not have been ignored.

(Photo Credit: from left, Cast of How We Got On, Thony Mena, Kashayna Johnson, Manu Kumasi, and Alina Collins Maldonado. (Noe Todorovich Photography).)

Theatre J’s Yellow Face was also not recognized as worthy of a nomination. However, many of the Artists in this production should have been recognized. Three actors specifically, Sue Jin Song, Rafael Untalan, and Stan Kang should have been recognized for “Outstanding Supporting Actress in a Play-HAYES Production”, “The James MacArthur Award for Outstanding Supporting Actor in a Play-HAYES Production, and “The Robert Prosky Award for Outstanding Lead Actor in a Play-HAYES Production” respectfully. Director Natsu Onoda Power assembled a remarkable production and her work should have been recognized with the nomination for “Outstanding Director of a Play-HAYES Production”. This ensemble was very powerful and their combined work with the designers should have gained them nominations for “Outstanding Ensemble in a Play-HAYES Production” and “Outstanding Play-HAYES Production”. Yellow Face was much more than just a production. It was a sneak peak into the everyday lives of Artists of Color, and the ongoing lack of diversity. Of the show, Broadway World say, "Yellow Face is entertaining, but it is more as well. It is impossible to leave the theater without wondering what peoplehood consists of and when it is appropriate to treat individuals as members of a larger group and when it is not." A great lesson for many people, even within our own community. It is a shame Yellow Face received zero nominations.

(Photo Credit: The Cast of Yellow Face (C. Stanley Photography).)

Olney Theatre Center's Once Once This Island is another production who was sadly unappreciated. Two Actors, Nicholas Ward and Theresa Cunningham were both strong enough to be nominated for “Outstanding Supporting Actor in a Musical-HAYES Production” and “Outstanding Supporting Actress in a Musical-HAYES Production”, along with the incredibly talented ensemble who should have been recognized with the “Outstanding Ensemble in a Musical-HAYES Production” nomination. Two of the productions leaders, Darren Lee (Choreographer) and Alan Muraoka (Director) drove the production to level strong enough to be eligible for “Outstanding Choreography in a Musical-HAYES Production” and “Outstanding Director of a Musical-HELEN Production” awards. Olney Theatre Center’s Once On This Island was a brilliantly staged, acted, sung, directed, produced, and designed production, that overall should have been nominated for the “Outstanding Musical-HAYES Production” category. However, there was no recognition for such a marvelous production. This production reminded the DC community that the horrible effects of the earthquake that struck Haiti in 2010 still affect the island nation to this day, and it celebrated the humanitarian support of many that have contributed to helping Haiti recover. 

(Photo Credit: Aisha Jackson (foreground), Theresa Cunningham, Nicholas Ward, Fahnlohnee Harris-Tate, and James T. Lane. (Photo by Stan Barouh).)

Adventure Theatre MTC’s The Jungle Book and Imagination Stage’s Cinderella: The Remix were both nominated for “Outstanding Production, Theatre for Young Audiences” (with The Jungle Book also getting Brian S. Allard a nomination for “Outstanding Lighting Design-HELEN Production”), but should have received much more recognition. The Jungle Book’s James J. Johnson should have received a nomination for “The James MacArthur Award for Outstanding Supporting Actor in a Play-HELEN Production”, Designer Pei Lee should have been nominated for “Outstanding Costume Design-HELEN Production”, and Chitra Kalyandurg should have been recognized for “Outstanding Choreography in a Play-HELEN Production” for their work on the project. The Washington Post say The Jungle Book at Adventure Theatre MTC "has nary a whiff of the racial stereotyping attributed to the 1967 Disney movie musical or the British imperial attitudes reflected in Kipling’s late 19th-century writing. Instead, thanks to an able and ethnically diverse cast, Power’s script, Serotsky’s deft touch and Pei Lee’s handsome, human-animal hybrid costumes, this Jungle Book becomes a lesson in acceptance." 

(Photo Credit: Rafael Sebastian and James J Johnson (Bruce Douglas).)

Cinderella: The Remix’s Giselle LeBleu Gant should have been nominated for “Outstanding Supporting Actress in a Musical-HELEN Production” for her work as well. Ethan Sinnott (who “may be the only Deaf scene designer actively and currently working in professional American theater”) should have been recognized for “Outstanding Set Design-HAYES Production”, as well as Nick Hernandez for “Outstanding Musical Direction-HAYES Production”, and  Psalmayene 24 for “Outstanding Play or Musical Adaptation”. This girl-power musical "highlights the importance of tolerance, acceptance and respect through fun music and dance, and that’s what I call a happily ever after". All artists who worked on these two productions should have received some recognition.

(Photo Credit: from left, Giselle LeBleu Gant, Katy Carkuff, Paige Hernandez (Imagination Stage).)

MetroStages’ Three Sistahs was another production that received no nominations. Two Time Award Winner and seven time nominee for “Outstanding Director” Thomas W. Jones should have gained his eighth nomination for “Outstanding Director of a Musical(-HAYES Production)”. Helen Hayes Award Winner (and two time nominee) Roz White should have been nominated for “Outstanding Lead Actress in a Musical-HAYES Production” for her work on Three Sistahs. The production was left short of any nominations.

Sasha Allen was not nominated for the “Outstanding Performer, Visiting Production” for her work on The National Theatre’s Pippin, but the production of which she was the Leading Player was nominated for “Outstanding Visiting Production”.

As Salvadoran maid Ana in GALA Hispanic Theatre’s Living Out/Cama Afuera, Belén Oyola-Rebaza‘s played respectfully represented the struggle of American Indian women to both Hispanic and Anglo theater audiences. Of the production, Maryland Theatre Guide says "Living Out is compelling thanks to the tight cast led by Oyola-Rebaza whose Ana is tough and vulnerable." and "Sometimes theater takes viewers far away to other cultures or imagined times. Living Out (a term for nannies who do not “live in”) brings something central to everyday life and allows us to examine it anew, with lightness as well as with serious intent.".  Oyola-Rebaza's work should have gotten her a nomination for “Outstanding Lead Actress in a Play-HELEN Production”.

(Photo Credit: Belén Oyola-Rebaza and Peter Pereyra.  (Lonnie Tague).)

Michael Patrick Thornton from ABC’s Private Practice starred in Olney Theatre Center’s Colossal. His representation of a gay man in sports who after an injury is left paralyzed from the legs was powerful and touching, and should have given him a nomination for “The Robert Prosky Award for Outstanding Lead Actor in a Play-HAYES Production”. The Washington Post says Colossal "is no doubt one of the shorter plays to fill a bill at Olney, and yet it may make the biggest statement of any work there in eons." Not only does Michael Patrick Thornton inspire people from all stages of life to pursue their dreams, he offers diversity to the DC theater community. On the contrast, Thorton’s co-star, Joseph Carlson, was nominated in that category.

(Photo Credit: from left, Joseph Carlson, Michael Patrick Thornton, James Whalen, and Cast of Colossal. (Stan Barouh).)

Two other designers should have received some recognition but didn’t: Jane Chan’s work in 1st Stage’s Take Me Out, and Kai Harada's work on The Kennedy Center's Little Dancer. They should have been nominated for “Outstanding Lighting Design-HELEN Production”, and “Outstanding Sound Design-HAYES Production”, respectively.

The late, 2 time Helen Hayes Award Winner, and 6 time nominee, Reggie Ray’s work in Round House Theatre’s Two Trains Running represented the African-American experience in a way only he could do it, and should have been nominated for “Outstanding Costume Design-HAYES Production”. Maryland Theatre Guide says " Reggie Ray’s work as costume designer reaches its peak" in this production. For all the brilliant work Reggie Ray did, and for all the people he inspired, this breakdown of the Helen Hayes Awards 2015 Nominations is dedicated to him.

(Photo Credit: Cast of Two Trains. (Danisha Crosby).)

Though #2015HHA doesn’t offer much for Artists of Color, it does open up a dialogue for Artists of Color to express concern for the lack of representation within the DC theater community. There simply aren’t enough theaters telling diverse stories with diverse artists, and the productions that are out there that feature Artists of Color, are not being appreciated as they should be. This breakdown is not to put down the nominees, but instead to uplift the work Artists of Color have accomplished but were not recognized for.

The 31st Annual Helen Hayes Awards will take place on Monday, April 6, 2015.

[dcactorsofcolor]

Teatro Hispano GALA y La Identidad Indígena

THIS IS A TRANSLATION IN SPANISH OF THE FOLLOWING POST: http://dcactorsofcolor.tumblr.com/post/85209303991/gala-hispanic-theatre-the-american-indian-identity

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El Teatro Hispano GALA se describe como “un teatro innovador y energético con un acento diferente” y una de sus metas es “hacer al púbico anglohablante consciente de la riqueza y variedad del teatro Hispano.” Por un lado, GALA sí trata de elevar la concienciación de los anglohablantes sobre la diversidad en la comunidad y teatro Hispano, pero hay cuestiones con su manera de ser. El Teatro Hispano GALA, como todos los medios de comunicación Hispana (por ejemplo Lo Que La Vida Me Robo [Univision: https://www.youtube.com/watch?v=2z8CCVFJHJc], Hombre Tenias Que Ser [Azetec America: http://us.azteca.com/hombreteniasqueser],y tantos commericales y peliculas [este enlace en ingles habla sobre este probelma: http://www.thenation.com/blog/176840/fusion-and-latino-medias-race-problem#), tiene una preferencia por los cuentos de la gente de descendencia Europea, como algunas de las obras enseñadas esta temporada en GALA: Cabaret Barroco, La Señorita de Tacna, y Platero y Yo. T heatre Communications Group y Showbizradio.net han colectado informacion sobre las temporadas pasadas de GALA (Enlace 1:http://www.tcg.org/tools/profiles/member_profiles/profile_results.cfm; Enlace 2:http://washingtondc.showbizradio.com/info/gala-hispanic-theatre). Usando esta informacion, esta pagina (DCActorsOfColor) encontro de que 55% de las produciones fueron de obras de dramaturges de descendecnia Europea, y hechas con actors y diseñadores de descendecnia Europea (NOTA: este numero no incluye 100% de las produciones de GALA; mas informacion en este enlace: http://dcactorsofcolor.tumblr.com/post/85693303851/gala-hispanic-theatre-past-10-seasons). Es importante notar de que GALA sí enseña por lo menos una obra por temporada de un Hispano de color; algunas temporadas mas que cuatro, y de que algunos actores de color participan en la 55% de obras de descendencia Europea. El otro 45% de obras enseñan artistas de color, y son compartidos por Afro-Latinos, Mestizos, e Indígenos.

  Esta temporada, hay cuatro obras en sus Obras de Teatro, Serie ArteAmerica, y GALita, que encolobran Hispanos de color, específicamente mujeres mestizas e indígenas. Estas tres obras son la obra de GALita ‘Fábulas Mayas’, ‘Cama Afuera’, PLACAS: The Most Dangerous Tattoo, y la Serie ArteAmericana de ’La Tenchis’. Dos de ellas enseñan a indígenas y mestizos de maneras positivas. ‘Fábulas Mayas’ (la cual tuvo su corrida en Tivoli este pasado otoño y también se presentó en el Festival INTERSECTIONS de Atlas en Marzo) fue escrita por una dramaturga/titiritera/actora/artista Mestiza local del Distrito de Colombia llamada Cecilia Cackley. Aunque la producción no tuvo muchos artistas indígenas y mestizos, el uso de Cackley como actriz en la producción dio un poquito de autenticidad a la obra y excusó el uso de Red Face (traducida a cara roja- es una práctica donde un actor que no es indígena interpreta a personajes indígenas, y se usa pintura, vestuario, u otra forma de disfrace; Este enlace en Ingles enseña ejemplos de Red Face: http://red-face.us/redface-film-tv.htm).

[foto 1: Actor de descendencia Europea vestido como Indígeno. Foto 2: Actores Indígeno y Europeo vesitdos como Indígenos. Para el resto de las fotos siga ha este enclave: https://www.facebook.com/media/set/?set=a.1428514354031159.1073741830.1423863104496284&type=3]

Algo que GALA/GALita podría haber hecho para elevar la autenticidad de la producción, es contratar un director indígena y actores indígenas para la obra, especialmente porque ellos estaban realizando la obra para niños indígenas. Si GALA decide hacer ‘Fábulas Mayas’ de nuevo como hicieron con ‘Platero y Yo’, estos cambios pueden ser hechos para mejorar la falta de diversidad en esta producción. La obra de teatro ‘Living Out’ escrita por Lisa Loomer, tiene a Belén Oyola-Rebaza, una actriz mestiza, como estrella, y tiene al artista mestizo Abel López como director. La obra de Loomer no solo tiene una mujer Salvadoreña (nota: la mayoría de mujeres Salvadoreñas [como 90%] son mestizas o indígenas. Figuras generosas dicen de que El Salvador es 13% Indígena, sumado con la populacion Mesitza, e la mayoria de El Salvador es de decendencia Indígena- https://www.youtube.com/watch?v=szk5QjhSE_Q.) pero el director López decidió NO usar la práctica “whitewashing” (donde un director toma a un personaje de color y le da el papel a un actor de que no es de color- http://stopwhitewashing.tumblr.com/about) para el personaje de Ana, la Hispana estrella de la obra. Aunque esta obra da oportunidades para que algunos de los otros personajes sean indígenas, asiáticos, africanos, o mezclados, la mayoría de los personajes Hispanos se fueron a actores de descendencia Europea; y de la misma manera, TODOS los personajes Anglohablante se les dieron a actores de descendencia Europea. GALA está caminando en medio de una línea donde un lado levanta la conciencia sobre la diversidad de la comunidad Hispana; y del otro, perpetua la supremacía blanca en la cultura Hispana (el pensamiento de ‘adelantar la raza’ - http://vimeo.com/93179227). La obra PLACAS: The Most Dangerous Tattoo es cuento de un Mestizo Salvadoreño, y tenia un equipo con artistas de color. Estas obras son bien importante para contar, y son buenisimas cuando son contadas en maneras positivas. La cuarta producción de que tiene a una mujer mestiza es la obra de la Serie ArteAmericana llamada ‘La Tenchis’. Al contrario que ‘Fábulas Mayas’ y ‘Cama Afuera’, esta producción refleja la identidad mestiza e indígena de una manera negativa, y perpetúa estereotipos sobre las mujeres de color. Esta página (DCActorsOfColor) no ha visto esta obra, pero, ‘La Tenchis’ está inspirada por el personaje de Julio Ernesto Hernández Yúdice (el dramaturgo de la obra), en cual la palabra “indio” se usa de manera negativa para referirse a la gente indígena, y se hace burla a la inteligencia de la mujer Salvadoreña (Enlace 1: https://www.youtube.com/watch?v=_f4cPFe-gvM; Enlace 2: https://www.youtube.com/watch?v=RcvnK9ZQNRs). Para el programa de televisión, y para la obra de teatro, Julio Ernesto Hernández Yúdice se viste en un vestido floreado típico Salvadoreño, trenzas negras largas, con dientes perdidos, y una actitud medio-ingenio. Le hace broma a la vida de la mujer Salvadoreña al gasto de la integridad de ellas.

  Como el líder del Teatro Hispano en el área metropolitana de Washington, DC, el Teatro Hispano GALA tiene la responsabilidad de contar los cuentos de todos Hispanos en luces positivas. Anglohablantes interesado en ambos teatro y la cultura Hispana, van a GALA porque la compañía enseña producciones maravillosas y porque GALA es apoyado por muchos grandes nombres como La Embajada de España. Por su contribución a la cultura Hispana, GALA ha recibido donaciones generosas de Children and Youth Investment Trust Corporation, the DC Commission on the Arts and Humanities, The Mayor’s Office on Latino Affairs, The National Endowment for the Arts, y muchos más (Enlace: http://www.galatheatre.org/currentdonors.php)… y tal vez esa es la razón de que GALA no quiera enseñar los cuentos de los Hispanos de color, como lo hace por los de descendencia Europea. Tal vez si una organización Indígena donara grandes sumas de dinero a la compañía, GALA sentiría necesario contar los cuentos de la gente Indígena, con actores, directores, y artistas Indígenas. Pero no se ve posible. La única vez que los mestizos o indígenas son usados es cuando se haba sobre la inmigración o la violencia de maras (Enlace en Ingles: http://www.ejumpcut.org/archive/onlinessays/JC30folder/LatinosFilmTvTrevino.html). GALA necesita pararse con los Hispanos de descendencia Indígena, como los Indígenas de América Latina que han apoyado y han previsto por la comunidad Europeo-Hispana por más de quinientos años. Indígenas de América han contribuido bastante a la vida Hispana en Latino America e en E.E.U.U. (y tambien a la vida Anglo), en parte comida, medicina, matematicas, gobierno, y economia (enlace: http://www.scholastic.com/teachers/article/native-american-contributions). Sin la gente Indígena, que historicamente han sido visto como cuidadanos de segunda clase, los desendientes Europeos no tenieran a) la tierra que ahora gobiernan, b) el labor nececitado para optener sus riquezas, y c) los tacticos para sostener vida en el “Nuevo Mundo”. La esclavetud es una practica que todavia vive hasta hoy dia en formas de esclavitud de niños, esclavitud sexual, esclavitud de labor, e otras formas de esclavitud. Por ejemplo, “en Guatemala havia disminucion constant de los numerous de niños no-Indígena en la fuerza de trabajo, pero no habia cambio de los niños Indígena trabajando,” “en las hacidendas grandes de la region Chaco de Bolivia y Paraguay, los Guarani han sido subjetivos a condiciones de esclavitud desde el siglo 19. A pesar de varios efuerzos de gobierno, incluyendo reforma de tierra y condenacion internacional, esta practica continua donde 5,100 ha 7,200 Guarani son subjetivos a la esclavitud en las haciendas remotas.”, y “la situacion es particularmente perjudicial para las mujeres en el trabajo domestic donde trabajan largas horas, en lugares de sujecion, maltratamiento, e abuso verbal y fisical. Ademas. no hay pago ni seguro de salud.” (Traducida de la pagína: http://www.un.org/esa/socdev/unpfii/documents/10Session_factsheet_forced_labour_EN.pdf). Si no fuera por estas practicas, e.e.u.u. y Latino America no tubieran cosas como tomates, chocolate, y maiz. Los gobiernos y las comunidades benefician de la esclavitud Indígena.

  La historia de Latino America es dura, y la comunidad sigue de sufrir de sus repercusiones. Bastante gente Indígena de sangre pura o mezclada nunca piensan identificarse como Indígena. Porque? Dos razones. La primera es porque siento ‘Mestizo’ y despues ‘Latino/Hispano’ es posicion social mejor. Por esa razon, bastante gente escondieron sus herencias Indígenas, y tomaban nombres Castellanos, y haciendoces Catolicos o Cristianos. El US Census enseña de que en el año 2000, 47% de Hispanos se identificaron como ‘Blanco’, y menos de 2% se identificaron como Indígeno (http://www.census.gov/prod/2001pubs/c2kbr01-1.pdf). En 2010, Carlos QC en la pagina de YouTube hico un studio en la area del Districo de Colombia preguntandoles a Hispanos con fenotipos Indígenas, cual era su raza (https://www.youtube.com/watch?v=3e6ChgL1EC4). Bastantes contestavan “Hispano o Latino,” pero cuando se hico claro de que Latino e Hispano son herencias culturales, no razas, le hico la pregunta de nuevo: cual es tu raza? Y les dio las opciones: Blanco, Negro, Asiatico, e Indígeno. La majoria decieron “no se” o “Blanco”. Esto es algo con cual GALA como lider el la comunidad Hispana del Districto de Colombia puede ayudar. La segunda razon de que bastante gente Indígena no se identifica como Indígena es porque los medios de comunicacion de los Estados Unidos nos ha tirado la palabra “Hispana/Latina” como manera de enseñarlos a la gente de color como “imigrantes” e “ilegales” (ejemplos en Ingles: http://topdocumentaryfilms.com/this-illegal-american-life/, http://www.youtube.com/watch?v=jTqv0h2ifkI ; http://elitedaily.com/life/culture/mexican-town-offers-tourists-thrill-illegal-border-crossing-experience/ ; http://www.imdb.com/title/tt1624257/plotsummary?ref_=tt_ov_pl) . Estudios como el examen de muñeca de Kenneth y Mamie Clark, ha sido replicado en Latino America, y se ha encontrado de que los niños piensan mejor de la piel Blanca contra la piel Negra (Republica Dominicana: https://www.youtube.com/watch?v=yWS4Z6p5fpU; Mexico: https://www.youtube.com/watch?v=4lcGi365-bg; Chile: https://www.youtube.com/watch?v=-hDCCaKPFZk) por la razon de que la socideda tiene ___ contra la piel oscura. Con tantos niños de color en el Districto de Colombia, GALA debe ayudar a cambiar estos statisticos. Practicando Red Face y insultando a los Indígenos en sus obras no es la manera correcta de representar a los Hisapos de descendencia Indígena.

Además, la mayoría de Hispanos que viven en Columbia Heights so de descendencia Mestiza e indígena… ¿no es hora de que GALA represente a esa gente también?

[selchieproductions]

© Survival International

Indigenous boy protests on pitch during World Cup opening ceremony

One of the three Brazilian children who released white doves during the World Cup opening ceremony used the occasion to demand recognition of Indian land rights – but his protest was censored by FIFA.

Immediately after releasing a white dove, Jeguaká Mirim, an indigenous Guarani boy, held up a red banner reading ‘Demarcation Now!’ But his courageous protest was not broadcast, as the TV cameras swiftly cut away.

Jeguaká’s father, Guarani author Olívio Jekupe, said that the act “showed the world that we are not standing still… My son showed the world what we need the most: the demarcation of our lands.”

The Guarani are Brazil’s most numerous tribe and they live in five states. Much of their land has been stolen from them and is being used for cattle ranching and sugar cane production, whilst many Guarani are forced to live in overcrowded reserves or in roadside camps where malnutrition and disease are rife. Some, like Jeguaká’s community known as Krukutu, live near urban areas like São Paulo on almost no land.

As a result of the loss of their land, the Guarani-Kaiowá of Mato Grosso do Sul state suffer the highest suicide rate in the world, and their leaders are targeted and killed when they attempt to reoccupy patches of their ancestral land.

The Guarani, Survival International and other organizations are calling on the Brazilian government to uphold its own constitution and international law, and map out the Guarani’s land for their exclusive use.

Coca-Cola, one of the World Cup’s main sponsors, has recently become embroiled in the Guarani land scandalby buying sugar from US food giant Bunge, which sources sugar cane from their ancestral land. The Guarani are urging Coca-Cola to respect their rights and stop this purchase immediately.

[nevvyintheheartlock]

PLEASE SIGNAL BOOST

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[vineland-island-deactivated2014]

THEY ARE ALSO GOING TO START PHOTOSHOPPING ANY SELFIES TAGGED UNDER COMMON TAGS LIKE “me” “my face” ETC. PLEASE BE SAFE

[jaspertheshark]

i refuse to stop reblogging these. i know that everybody and their mother is probably reblogging these and theyre probably all over everyones dash BUT i have yet to see one post with all the same tags and so here we are

[lezbongs]

can someone please caption this image? would but verbal / visual processing is very low right now

[rickgrimesbabyface]

The image says:

[ Warning

Gore and shock images being spammed in the following tags:

#ableism  #fat acceptance  #feminism  #feminist  #misogyny  #patriarchy #peace  #rape  #rape culture  #sjw  #womyn  #womyn of color  #asexual #lgbt  #lgbtq  #otherkin  #pansexual  #polysexual  #transsexual  #poetry #depression  #gaypride  #equality  #sexism 

and practically all of the big fandom tags

Block the list of users below for ‘safer’ browsing. ]

I’ve never captioned before so hopefully this is acceptable/helpful.