WINTER 1993-94 FUSE

sharon lewis - Rocking the Show Boat

Being an actor in a country where art comes first in the budget cuts and last on most people's list of necessities is hard. Being an actor of colour within an industry that still casts us primarily in small, stereotypical roles such as maids, hookers, dancers, snake charmers, kung-fu fighters, spiritual healers, cooks and showboat singers is really hard. Actors have very little institutionalized power, actors of colour have even less and women of colour actors, well… what's a girl to do?

All artists have it tough, but actors have their own unique realities to contend with. Above all, we are not in control of our own work - unlike visual artists, we cannot work independently. Well some of us do, but it's a challenge to really feel like you're acting when you are doing it home alone, for your lover, friend or pet. Actors need an audience, and preferably a paying one.

Both in theatre and media the competition is fierce. It is estimated that for every ten times a white actor auditions for a part, an actor of colour auditions once. The stark inequities in the theatre scene are further unmasked when we realize that very few mid-size to large theatre companies carry a whole season of plays that employ people of colour actors. And those that do rarely offer roles to people of colour that go beyond token appearances or (if we're really lucky), parts in a secondary story-line. Yet, because we desperately need parts in order to get the requisite experience casting directors look for, it becomes hard to turn down these "offers." So, sometimes we reluctantly take roles that we do not feel challenged by, that are not well written, or that are irresponsible in the way that they portray people of colour or women.

As the most visible participants in a production, actors face different responsibilities than the producers, writers or directors of colour that take on these projects. Sometimes we don't know we are visibly portraying a stereotypical character. Other times we do know but don't feel we are in a position to say "no" to the work. The controversies surrounding Show Boat and Miss Saigon highlight the limited options we have as actors of colour when we face racism, sexism and homophobia in our workplace. Outside of refusing the gig, ignoring what's happening, or only working on projects that are anti-racist, anti-sexist and anti-homophobic (not a realistic option right now for most of us struggling in the business), what can we do?

The Audition Once we get an audition there are things we can do to let our presence be known. Choosing an audition piece that reflects our own reality is one way of letting producers and directors know that we are writing and are active here in Canada. Chances are, if it's a piece by a person of colour or by a woman of colour, they might not know it. That's OK. It allows us the chance to talk about the piece. If they haven't seen it before, then you know they will be seeing something fresh and new. Maybe they'll want to consider it for their next season?

Ask questions. Ask questions about their season: do they intend to do non-traditional casting for major roles? Sometimes you will hear the response: "Yes, but we do have to match families." Question some more. Let them know that our families are like most families - we have parents, siblings, partners who are short, tall, light, dark; family members who have big noses, small noses. I have first cousins who are blonde, blue-eyed, tall and dancer-like. I am short, black-haired, brown-eyed, Black South Asian.

In theatre, audition for roles that are not ethnic specific. They might never have thought of casting a Black woman, South Asian woman, or a Native woman as the lead, now they will at least think about it. In media where you need your agent, chat to your agent and let him/her know that you want to be considered for all roles within your acting range. There are agents who will submit you for roles that are not ethnic specific.

The Gig Theatre gigs are obviously different than media roles, but they have similar challenges for actors of colour. A big problem in both mediums is The Script. What do you do when your character is underwritten, caricatured, stereotypical or just out-and-out racist or sexist? Quit. (It's an option, though not a great one.)

Negotiate. If you are lucky enough to be working with other people of colour, talk to them, try and get some support. When I did this on a theatre gig we were able to present our concerns to the writer, director and producer in written form and negotiate a situation that would allow us commit to the project. If it's an equity production the equity officer can help you, if the content of the script has changed. Even if the equity officer cannot get directly involved, it might be helpful to register your complaint. There is a new organization in Toronto called Artists Networking Together (ANT), which will help you if it can. If negotiating is impossible, it still helps to have pointed out your concerns whether they are about racism, homophobia or sexism.

Negotiating can take many forms. One woman actor instructed her agent to put in her contract that she would play a servant as long as she was not in a maid's uniform and was given the title of "assistant" or the equivalent if the programme. She also agreed to take the part because she would be the lead in the other play for the season.

During one industrial gig I did, I ended up negotiating with the make-up person. When she was finished with me, my skin was lighter and my lips were smaller than they were when we had first met. I went to her and asked her to do my lips again and I powdered my face with my own powder. The director didn't care or didn't notice, but I did.

Talk. If it's a company that is trying to grapple with the issue of non-traditional casting, let them know about other actors of colour, directors, female producers, writers and stage managers. There are books like Into the Mainstream, form the Toronto ACTRA office, for use by producers, which list actors of colour.

The Powers That Be We need to sit on the arts councils, the places where they decide which organizations and individual artistic non-profit projects get money. Call them or write a letter letting them know about yourself or someone you think is knowledgeable about the theatre or film community, and would be willing to sit on a jury.

Support your local theatre (I know it sound like an ad), but there are theatres employing people of colour - actors, producers, stage managers, directors. I am currently producing, directing and writing a full-length play with Maxine Bailey and a group of actors that will feature six Black women, under the name Sugar'n'Spice Productions. This project involves Black female artists in all aspects of the production, costume design, writing, acting, fundraising and producing.

We need to be The Powers That Be, which means we need to be producers, directors, administrators. There are a whole lot of us who are. In fact, there are so many of us, I could never list us all here, but if you are looking for people of colour for crew, actors, administrators try BASO, Desh, LIFT, Full Screen for a start.

I know you hear this all the time, but write letters. I wrote a whole series of letters to CBC, Channel 47 and CFTO complaining about the lack of people of colour in programing, and the lack of quality programmes in which they appear. The more they hear form us the more they will know we are here. Write them and tell them about a character on TV of film that you want to see more of. Write the artistic directors of theatre companies and recommend plays that you would like to see produced. It's our tax money that funds "community" theatre productions like Show Boat. Get the local business community involved. For example, go to the Black community for a sponsorship of a play that is by and about the Black community. Our culture is wrapped up in the arts, it can't be maintained or progress without artists. Call places like Theatrebooks and ask for plays and theoretical books by and about people of colour.

I know that non of these options are completely satisfactory but they do give us some room when we are going for the gig, working on the gig, or waiting, and waiting and waiting for The Gig. The Powers That Be and our community need to know that even if we are doing The Gig we have concerns about it. The show must go on, but it doesn't have to be built on our silence. Rock the boat, don't tip the boat over, rock the boat, till we don't need the boat, rock the boo-oat….

Sharon M. Lewis is an actor, writer, director, and producer struggling in the big city to find fortune, fame, and innovative art (not necessarily in that order.)