A little over a week ago, Broadway made history. Carpool Karaoke emcee James Corden hosted the 2016 Tony Awards, opening the legendary awards show with a bit of laughter: “Think of tonight as the Oscars, but with diversity. It’s so diverse that Donald Trump has threatened to build a wall around this theater." The laughter and celebration were welcomed remedy to the somberness of that morning, when the LGBTQ community were specifically targeted during an Orlando night club shooting. "Theatre is a place where every race, creed, sexuality and gender, is equal, is embraced, and is loved." Corden also said. And this year, where gender fluidity, racial diversity, and complete intersectionality have taken both backstage and onstage, this is especially true and especially uplifting.
For the first time in history, all four winners of the musical acting category were people of color: Leslie Odom Jr. ("Hamilton") took the prize for Best Actor, the stunning beltress Cynthia Erivo ("The Color Purple") Best Actress, Daveed Diggs ("Hamilton") Best Actor in a Featured Role, and last but certainly not least, Renee Elise Goldsberry for her portrayal of the sassy Angelic Schuyler in "Hamilton."
The Great White Way has become and is becoming The Great Intersectional, Proportionately Inclusive and Sensibly Diverse Way. And this isn't about "token black characters" or being PC. This is about being realistic.
Real life is not comprised solely of white men with reasonably-slim yet adequately buff muscles who speak only in American accents or charming and mysterious Sherlock Holmes accents. Real life is not comprised solely of white men who are free of disability or who wear slacks and button-down's because "that's what they're supposed to" or who have English as a first language. Real life is a melting pot, and the stories onstage (and in film) should reflect accordingly. But between #OscarsSoWhite and the still lacking feature of women in director/writing roles, Broadway is beating out Hollywood on the realistic scale. Here are just a few of the show's making this refreshing (and long-called for) revolution possible:
Hamilton:
Lin-Manuel Miranda's game-changing Hamilton (which currently has people on two-year ticket waiting lists) is basically Broadway's pride and joy right now. But you probably already know that. This hip-hop history features people of color in historically white roles, and yes, those are natural-haired beauties portraying the roles of Revolutionary soldiers behind Miranda. Miranda has also previously mentioned that he wouldn't mind seeing women perform the roles of the Founding Fathers. How does this rap-battle narrative stand up against the Bechdel test (a barometer for gender inclusion; measures if the story features at least two women who talk about something other than a man) and the Racial Bechdel test (same format; measures if two non-white characters speak about something other than the white character)? Pretty well, actually:
Bechdel test: Yes (Some critics have argued that the Schuyler sisters exist only in relation to the political men they swoon, but I say on the contrary; Eliza and Angelica's sisterly friendship and dedication surpasses even that of romantic relationships in the plot, and of course, who can forget the quick-witted and idea-intrigued Angelica, or the sisters declaration that if "all men are created equal", they ought to be included in the "sequel"? Nay- these girls have an agenda of their own.)
Racial Bechdel test: Yes. Clearly.
The Color Purple:
Cynthia Erivo, enough said. Okay, really- the iconic tale of an African-American woman living in the South as she deals with both bigotry and abuse in hopes of one day reuniting with her sister, is an empowering narrative for black women. AND CYNTHIA ERIVO. (Okay, I'll link her Tony performance here if you haven't seen it or...just want to...binge rewatch it...like me...)
Bechdel test: Yes
Racial Bechdel test: Yes
Waitress:
Bechdel test: Yes
Racial Bechdel test: Yes
Eclipsed:
Also following in the promising wake of Waitress' all-female creative team, is the play Eclipsed, written by Zimbabwean actress and playwright, Danai Gurira. The play, which features Lupita Nyong'o, follows the harrowing depiction of four women struggling with violence, subjugation, sex, corruption, and self-worth in war-torn Liberia, and also features an all-female creative team.
Bechdel test: Yes
Racial Bechdel test: Yes
Spring Awakening:
Nominated for Best Revival of a Musical, was Deaf West's incredibly poignant production of Spring Awakening. But this retelling came not merely in the prose of song, but American Sign Language as well, making it more accessible to both actor and audience. They just happened to have performed two of my favorite songs ("Mama Who Bore Me" and "The Bitch of Living") at the Tony Awards, and the setup downright gave me chills. Watch it here.
Bechdel test: Yes
Racial Bechdel test: For this run, not quite
Shout-out is also due to "On Your Feet" (following the life and times of Gloria and Emilio Estefan, allowing a greater opportunity for Latino actors and actresses), the "Shuffle Along" revival (a show which was introduced in 1921, and is now being brought back to life through starring king and queen Billy Porter and Audra McDonald), and while not new for 2016, the still-running musical extravaganza "Kinky Boots" and its embracive, celebrative message: "Just be who you wanna be, never let 'em tell you who you ought to be, just be with dignity, celebrate yourself triumphantly."
Here's to the community that continues to support, advocate, include, and educate through the timeless craft of theatre.
