Introduction to the Research Dossier (Draft 1)

Broadway has historically been lacking in providing theatrical roles for

minorities, including people of color, women, members of the LGBTQ+
community, the disabled community, and others, despite the inclusive and
progressive reputation of the theatrical community. Over the past few years,
Broadway seasons have seen a slight shift in the representation of their
roles, however whether thats due to a permanent, ongoing change in the
level of diversity on the great white way, or simply a limited response to a
particular situation or political climate of the era, is an ongoing conversation
within the community. In particular, there have been concerns regarding the
marketability and potential for success in New York theatre, and that has
often been cited as a reason for the lackluster degree of equality in theatre.
Additionally, there have been political entanglements cited as reasons that
more diverse productions are more trouble than theyre worth. However, the
success of recent minority-driven shows lend to the idea that these shows
are not only worth creating in the name of representation, but that they are
marketable and profitable as well. With my research, I hope to expand the
discussion and awareness of profitability of minority-driven shows, and to
highlight the multitude of benefits that come from their production and
accessibility, both from a consumer standpoint and for theatre professionals.
The tendencies in Broadway history of relatively uniform and incredibly
white-male-centric casting habits compared to the diversity of recent
seasons has led me to examine the ways in which diversity and
representation on Broadway has changed and developed over the years. As
evidenced in the sources notated below in the Annotated Bibliography, the
level of ethnic diversity on Broadway has been lacking, with the majority of
roles being cast with Caucasian actors. However, many minority-driven
shows, such as Hamilton: An American Musical, Fun Home, In The Heights,
and others, have succeeded in widening the scope of Broadways
storytelling, despite perhaps not directly appealing to what is considered
Broadways typical audience demographic. Their success can be accredited
to a number of different tactics and circumstances, spanning both their
marketing methods, the political climate, and the success of the shows at the
Tony awards. Although these productions exemplify the positive trends,
Broadway also has a history of toning down what could be considered
sensitive material from the source, not only in the Disney-ified sense of
romanticized fairy tales, but in restructuring the form of a show in order to
create a more palatable and easily marketable show for the masses.

Research Proposal and Research Map

Preliminary Thesis:
The traditional focus of the Broadway musical on white, heterosexual men
has led me to examine what some might consider nontraditional shows,
both in terms of casting and subject matter, and examine the commercial
success of those shows, and how diversity in theatre will positively benefit
both the industry and its patrons.

Research Questions:
- Where is diversity in New York theatre most located? On Broadway,
off Broadway, in commercial houses or nonprofit?
- Why have more diversity/minority driven stories
- Has Broadway truly reached a point of equality in regards to
diversity and representation? What aspect (gender, sexuality, race)
boasts the highest percentage of diversity?
- Can diverse/minority driven stories be profitable in a Broadway
context?

Keywords:
Gay Broadway , Representation on Broadway , Diversity in
Theatre , Fun Home , Theatre, Equality , Race in Theatre , Deaf
West , Hamilton , Equality and Broadway , Gender and
Broadway

Research Types:
- Scholarly Research: As of right now, Ive accumulated a few print
sources that focus in on specific aspects of diversity on Broadway,
particularly race and gender. Additionally, I have been able to find a
handful of case studies as well as peer-reviewed articles that are
beneficial to my research.

- Internet Research: The majority of my research is clustered in this

area, with much of my information coming from online databases,
articles, and republications of journals. There are also a number of
online resources, provided by organizations in the business, that
give specific details about individual productions and seasons, such
as:
o Playbill.com
o Internet Broadway Database
o The Theatrical Index
o Broadway League
o Actors Equity Association

- Field Research: Which I have not had much ability to conduct my

own interviews, I have found a number published online that serve
my purposes, as well as my own observations and experiences in
the world of theatre.

Abbreviated Research Schedule: For full version, see calendar.

 Research Dossier (Draft) Due February 27th
Research Dossier Revision Week of March 5th
Research Dossier (Final Draft) Due March 10th
Additional Research March 11th 14th
Research Analysis Drafting March 15th 18th
Research Analysis (Draft) Due March 20th
Ted Talk Pitch Due March 27th
Research Analysis Revision March 21st 26th
Research Analysis (Final Draft) Due March 29th
Research Paper (Draft 1) Due April 3rd
Research Paper (Draft 2) Due April 5th
Research Paper (Draft 3) Due April 12th
Research Paper (Final Draft) Due April 21st
Ted Talks & E-Portfolio Due April 23rd

Annotated Bibliography
1. Bandhu, Pun. Ethnic Representation on New York City Stages 2014-
2015. Rep. N.p.: Asian American Performance Actors Coalition, n.d.
Print.
This report, published by the Asian American Performance Actors
Coalition (AAPAC), outlines the breakdown of ethnic diversity on
Broadway, as well as in several of the largest non-profit companies in
New York. It also addresses the amount of non-traditional casting
choices made, or instances where a person who does not exactly
match the typical conception of the role is cast regardless (ex. A
woman playing a traditionally male role, or people of color being cast
in traditionally white roles). The AAPAC is an organization dedicated to
bringing additional ethnic representation to Broadway and facilitating
discussion regarding diversity, and has published several reports
discussing the ethnic makeup of Broadway casts over the last several
years. This article will be useful in providing statistical evidence
regarding the level of ethnic diversity in New York theaters in the
recent past, and gives a good overall look at where racial equality falls.
2. Chen, Bonnie. "Mixing Law and Art: The Role of Anti-Discrimination Law
and Color-Blind Casting in Broadway Theater." Hofstra Labor &
Employment Law Journal, vol. 16, 01 Apr. 1999, p. 515.
This article, published in the Hofstra Labor & Employment Law Journal,
examines the fine line between racial discrimination and appropriate
color blind casting, providing insight as well into the Actors Equity
Association definition of color blind or nontraditional casting, and the
limits of where it is appropriate. This article, a scholarly source, will
provide great insight into the nuances of how people of color are cast
on Broadway, and might lead to other sources regarding AEAs
involvement in this matter.

3. Collins-Hughes, Laura, and Alexis Soloski. "Broadway Might Not Be So

White, But Is It Woman Enough?" The New York Times. The New York
Times, 31 May 2016. Web. 1 Feb. 2017.
<https://www.nytimes.com/2016/06/05/theater/women-on-broadway-a-
year-of-living-dangerously.html>.
Published by the New York Times, this article features a conversation
between two New York Times theatre critics discussing the degree of
gender equality on Broadway in light of how significantly racially
diverse the 2015-16 season was. Both women hold a career in the
theatre business, and as such have field knowledge when it comes to
their commentary on the work. The article discusses how while
progress has been made in terms of female representation on
Broadway, the nuances of the female-led shows suggest that perhaps
things arent as progressive as they seem. This article will be able to
provide authoritative testimony from theatrical professionals regarding
gender diversity on Broadway, specifically in commercial houses and
productions.
4. "New theater season once again shows lack of diversity on Broadway
and Off; The new Broadway season includes no new plays by women or
writers of color, and last season less than a quarter of plays produced
in America were by women. While the internet is finally beginning to
react, the problem stems from history." The Guardian (London,
England) 2015: General Reference Center Gold. Web. 20 Feb. 2017.
Link: https://www.theguardian.com/stage/2015/aug/22/new-theater-
season-diversity-broadway
While a popular source, this article published by the Guardian provides
a helpful discussion on the sources of the new Broadyway season, as
well as the off Broadway and non-profit seasons, calling attention to
the lack of shows written by female playwrights and people of color. It
briefly theorizes on why theatre remains so dominated by white, male
playwrights, and what might be done in order to change the outlook on
this particular front.
5. "'Is This What It Takes Just to Make It to Broadway?!': Marketing in the
Heights in the Twenty-First Century." Studies in Musical Theatre, vol. 5,
no. 1, Mar. 2011, pp. 49-69.
This case study, published by and - , takes an in depth look at the
success of In The Heights, a 2008 musical featuring the Hispanic
community of Washington Heights, written by Lin-Manuel Miranda. In
particular, this article discusses the typical demographics of the
Broadway audience, and how the success of In The Heights can be
attributed to the marketing techniques employed by the producers, as
well as the nuances of the show that made producing it such a big risk.
This study pairs well with the interview regarding the early success of
Fun Home, as well as the Wicked article that discusses how many of
the details of the book were toned down or completely revised in order
to create a more palatable musical. It also provides several links to
other sources that might prove beneficial to examine.
6. Cox, Gordon. "Timing Was Right for Tony Winner 'Fun Home'." Variety,
vol. 328, no. 15, 29 June 2015, p. 97.
This interview, though short and from a popular source, contains a
conversation with Lisa Kron, the writer of the book for Fun Homes
musical adaptation, and briefly covers her opinions regarding Fun
Homes relevancy in current times, and the fear surrounding its initial
openings, and audience response in light of the subject matter and
focus on sexuality. This article pairs well with 'Is This What It Takes
Just to Make It to Broadway?!': Marketing in the Heights in the Twenty-
First Century, offering a slimmer but different look into the success of
a Broadway show that tells the story of a marginalized group.

7. Raab, Doris. "From Book to Broadway: Elphaba's Gender Ambiguity and

Her Journey into Heteronormativity in Wicked." Studies in Musical
Theatre, vol. 5, no. 3, Jan. 2012, pp. 245-256.
In this article from in Studies in Musical Theatre, a peer-reviewed
journal with a focus in live performance art and published by Intellect,
Doris Raab argues how the musical adaptation of Wicked restructures
some of the queer-coded elements of the books, shifting both the
presentation of Elphabas gender and the relationship between
Elphaba and Glinda in order to create something more marketable to a
mass audience, that falls within expected gender roles and
heterosexual relationships.

8. Cox, Gordon. "Behind the Curtain: The Great White (Male) Way."
Variety, vol. 330, no. 1, 10 Nov. 2015, pp. 48-49.
Abstract: The article discusses the lack of diversity and gender parity
at theaters and Broadway-centric companies in New York in 2015.
Released data from the study called Count showed that just 22% of
productions were written by women over the course of three years at
nonprofit theaters of the U.S. A report from the League of Professional
 Theater Women revealed that far fewer women working in sound and
lighting than there were in costume design and stage management.

9. Davenport, Ken. "How to Get More Diversity on Broadway." The

Producers Perspective. N.p., 17 Dec. 2016. Web. 31 Jan. 2017.
<https://www.theproducersperspective.com/my_weblog/2015/12/how-
to-get-more-diversity-on-broadway.html>.
The article, though lacking in length, provides a brief look (and
authoritative testimony) from a Broadway producer, Ken Davenport, on
where and how more diversified shows come to be. While lacking in
detail and length, it does provide insight into the producers point of
view, and ties in to the marketability of diverse stories on Broadway.

10. Hoffman, Warren. The Great White Way: Race & the Broadway
Musical. New Brunswick: Rutgers UP, 2014. Print.
Summary: Broadway musicals are one of Americas most beloved art
forms and play to millions of people each year. But what do these
shows, which are often thought to be just frothy entertainment, really
have to say about our country and who we are as a nation? The Great
White Way is the first book to reveal the racial politics, content, and
subtexts that have haunted musicals for almost one hundred years
from Show Boat (1927) to The Scottsboro Boys (2011). Musicals mirror
their time periods and reflect the political and social issues of their day.
Warren Hoffman investigates the thematic content of the Broadway
musical and considers how musicals work on a structural level,
allowing them to simultaneously present and hide their racial agendas
in plain view of their audiences. While the musical is informed by the
cultural contributions of African Americans and Jewish immigrants,
Hoffman argues that ultimately the history of the American musical is
the history of white identity in the United States. Presented
chronologically, The Great White Way shows how perceptions of race
 altered over time and how musicals dealt with those changes. Hoffman
focuses first on shows leading up to and comprising the Golden Age of
Broadway (19271960s), then turns his attention to the revivals and
nostalgic vehicles that defined the final quarter of the twentieth
century. He offers entirely new and surprising takes on shows from the
American musical canonShow Boat (1927), Oklahoma! (1943), Annie
Get Your Gun (1946), The Music Man (1957), West Side Story (1957), A
Chorus Line (1975), and 42nd Street (1980), among others.

11. Cantu, Maya. American Cinderellas on Broadway Musical Stage :

Imagining the Working Girl from Irene to Gypsy. Houndmills,
Basingstoke, Hampshire ; New York, NY : Palgrave Macmillan, 2015.,
2015. Palgrave studies in theatre and performance history.
Summary: Drawing upon Broadway musicals ranging from Irene
(1919) to Gypsy (1959), Maya Cantu considers how Cinderella
Broadway musicals from the 1920s through the 1950s adapted and
transformed Perrault's fairy tale icon in order to address changing
social and professional roles for American women.