On Womxn of Color Directing DC Theatre
As an artist, a feminist, and a Non-Binary Trans Womxn of Color Director and theatre artist working in the DC Metropolitan theatre scene, my experience working with Womxn of Color Directors has been very limited. My curiosity about the inclusion of womxn of color directors has led me to a little bit of research on the topic.
How many womxn of color have been nominated for the Helen Hayes Award in Directing and Music Direction since it’s beginning? How many womxn 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 womxn of color must jump over very often in order to receive recognition? How many womxn of color were actually given the opportunity to direct for the 2016-2017 season? Using HHA Nominees & Recipients advanced search options on TheatreWashington’s website, DCTheatreScene’s season reveal, and other online resources, I found some answers to these questions.
Since 1985, only three womxn of color have been nominated for the award for “Outstanding Director”. There have been zero womxn of color nominated 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 womxn of color recipient of the honor. There have been zero Womxn of color who have been nominated for the Helen Hayes in Direction or Music Direction since Taylor’s win, including the 2017 Helen Hayes Awards.
(Photo Credit: Regina Taylor)
Non-POC (white) womxn have actively, though sparingly at times, been competitors in the Director categories since the inception of the Helen Hayes Awards in 1985 when four of the six nominees for “Outstanding Director, Resident Production” were non-POC womxn. In 1988, Zelda Fichandler became the first womxn to win the award. Several womxn have won since then including: Allison Arkell Stockman, Kasi Campbell, Yaël Farber, Mary Hall Surface, Marcia Milgrom, Toby Orenstein, Regina Taylor, Jane Wagner, Mary Zimmerman, and Joy Zinoman. Mollly Smith and Joy Zinoman have both been nominated 10 times for the award. The most nominated non-POC womxn for Director is Toby Orenstein, who has been nominated 11 times for the award.
For the 2017 Helen Hayes Awards, five non-POC womxn have been nominated for Musical Direction or Director of a Play or Musical. In the “ Outstanding Musical Direction-HELEN” category, Karen Hansen earns her 2nd Helen Hayes Nomination for her work in MOXIE: A HAPPENSTANCE VAUDEVILLE at Happenstance Theater. In the “Outstanding Director of a Play-HELEN Production” category, Sabrina Mandell earns her 4th Helen Hayes Nomination, her first in Direction, for her work in MOXIE: A HAPPENSTANCE VAUDEVILLE at Happenstance Theater. In the “Outstanding Director of a Play-HAYES Production” category, Joanie Schultz earns her first Helen Hayes Nomination for her work on HAND TO GOD at Studio Theatre. In the “Outstanding Direction, Musical-HAYES”, Molly Smith earns her 10th Helen Hayes Nomination for her work in CAROUSEL at Arena Stage. In the “Outstanding Direction, Musical-HELEN” category, Allison Arkell Stockman earns her 2nd Helen Hayes Nomination for her work on URINETOWN at Constellation Theatre Company. Of the 30 nominees in the 6 directing categories, only 5 of those nominated were non-POC womxn: 16% non-POC womxn, 81% men, and 3% non-POC Non-Binary Trans-masculine.
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 8 Directing Nominations and 2 wins; William Knowles who has received 5 nominations and one win; and Anderson Edwards & William F. Hubbard who have both been nominated and won once.
For the 2017 Helen Hayes Awards, two men of color have been nominated for “Outstanding Musical Direction-HAYES”: Darius Smith for his work on JELLY’S LAST JAM at Signature Theatre, and Markus Williams for his work on THE CHRISTIANS at Theater J; and one man of color was nominated for “Outstanding Direction, Play-HELEN”: Psalmayene 24 for his work on WORD BECOMES FLESH at Theater Alliance.
Of the 30 nominees in the 6 directing categories, only 3 of those nominated were men of color: 10% MOC, 90% non-MOC (including white men, white womxn, and white Non-Binary folx). (Additional note: Non-womxn Non-POC directors, José Luis Arellano Garcia and Will Davis, both made history as the first Spanish-speaking director and Non-Binary Trans-Masculine director, respectively, to win the award at the 2016 Helen Hayes Awards. They both received a 2nd nomination for the 2017 Helen Hayes Awards.)
It’s clear that womxn of color have not fared as well as non-POC womxn nor men of color in Direction. But why? Why have womxn 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 womxn of color, and therefore the chances of being nominated are much lower.
Looking at the 2016-2017 season, it’s clear opportunities are not given to womxn of color.
Only 1 in every 6 DC professional theatre company gave an opportunity to womxn of color to direct this season.
Of over 300 shows this season, 15 are directed by 13 womxn of color.
Less than 5% of the productions this season were directed by womxn of color.
Those productions are: ************************************************************************************* 1st Stage - Ma Rainey's Black Bottom Directed by Deidra LaWan Starnes
************************************************************************************* Ally Theatre Company - Think Before You Holla Directed by Taylor Reynolds
************************************************************************************* Arena Stage - Smart People Directed by Seema Sueko
************************************************************************************* Avant Bard - The Gospel at Colonus Directed by Jennifer L. Nelson
************************************************************************************* Center Stage - Les Liaisons Dangereuses Directed by Hana S. Sharif
************************************************************************************* Center Stage - The White Snake Directed by Natsu Onoda Power
************************************************************************************* GALA Hispanic Theatre - Seneca: Library Mouse Directed by Cecilia Cackley
************************************************************************************* Kennedy Center - Debbie Allen's Freeze Frame Directed by Debbie Allen
************************************************************************************* Live Garra Theatre - A Matter of Perspective Directed by Wanda Whiteside
************************************************************************************* Mosaic Theatre - Milk Like Sugar Directed by Jennifer L. Nelson
************************************************************************************* Mosaic Theatre - Charm Directed by Natsu Onoda Power
************************************************************************************* Mosaic Theatre - A Human Being Died that Night Directed by Logan Vaughn
************************************************************************************* Shakespeare Theatre Company - Macbeth Directed by Liesl Tommy
************************************************************************************* Theatre Alliance - brownsville song (b-side for tray) Directed by Paige Hernandez
************************************************************************************* Theatre Alliance - Black Nativity Directed by Princess Mhoon
************************************************************************************* These thirteen successful, phenomenal womxn deserve our applause. They are an inspiration to all the womxn 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 black and brown girls.
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 womxn of color to direct will bring forth a stronger community, and a wave of artistic resurgence. This goes without mentioning, inclusion of Transgender Womxn of Color in these theatre companies is specifically important. While it is sad that only 15 WOC had the opportunity to direct this season, it is further unfortunate that all of those womxn are not out trans womxn.
To all the black and brown girls: keep doing and improving your art. You are the present of DC theatre and you deserve to be heard.
Hopefully one day, many brilliant womxn of color could follow in the footsteps of Regina Taylor, break that barrier that prevents WOC directors from recognition, and win the esteemed award for our community once more.
