TO CAST OR NOT TO CAST, A POINT OF VIEW

Jodie Turner-Smith as Anne Boleyn

Once again the problems of performance are in issue. The casting of black actor Jodie Turner-Smith as Queen Anne Boleyn has caused controversy. Many people have taken exception to what is clearly contrary to the historical evidence that Anne Boleyn was white.

There have been a number of white actors who have portrayed black historical figures. This is now, rightly in my view, frowned upon; however, in the interests of positive action in the casting of dramatic characters, and to create a more even and equal opportunity for employment, it is now thought correct to cast roles without regard to age, race or gender, and look to the actor’s skills and ability to best perform the part.

 

I see nothing wrong in this aspiration, but it does rather overlook the matter of appearance. This does not matter with audio performance, but the very fact that some performances are meant to be seen, means that the overall look and design of a play or film is very much part of its structure. The ‘look’ of the actor is part of that structure, what they wear, how they dress etc. In most instances, then, the actor’s race or gender may not be relevant to the overall performance, but in a number of instances it can make a great deal of difference. Solomon Northup, for example, in Twelve Years a Slave could not possibly be portrayed by a white actor, nor indeed a female actor, although a black female actor could more likely portray the role, but that would be historically inaccurate, and the overall look and feel of the piece would be lacking an element of truth.  It is all very well to suspend one’s disbelief in dramatic presentations, but there are limits that compromise credulity.

 

I understand the need to tackle racism and discrimination in all its forms, and direct action is clearly important in order to rid the world of the evils or prejudice of any kind. Should it succeed, then we will no longer be having this discussion, any actor could play any part without any cause for concern about their age, race or gender. When these matters are no longer ‘issues’ to be discussed and mulled over, discrimination will have become extinct; however, we still have the matter of physical reality.

 

On the whole, actors are cast because they have the characteristics the producers of a performance piece seek for their characters. The producers (in which I included the director, writer, and casting director) will peruse a variety of photographs, résumés, show reels and interviews or may even have an idea of who they want to employ. Often, they will seek to employ someone they believe will be financially beneficial to the project, but if they look to the work as well, they will want that someone to be at least right for the role they have in mind. Sometimes they will indulge in what is referred to as stunt casting. An individual so extreme will be cast in a role for effect and the curiosity factor. The person may not even be a trained actor, just a so-called personality, but that too is inviting problems.

 

One particular genre of film making, the science fiction saga or blockbuster, has thrown open the matter of casting. The characters are creations of fantasy and actors are made up to look like anything the producers require. Age, race or gender matter not one jot. Anyone or anything will do. Its all action, dictator villains and heroes for democracy, with a bit of love and magic thrown in.

When it comes to drama, whether romantic comedy, historical biography, tragedy, thriller or just a story about life and living, let the characters be who they are and let them be portrayed by actors who can be most like them. Let the characters be portrayed by age, gender and race appropriate actors.

 

If actors of a particular age, gender or race feel hard done by, write your own script, get a writer, producer and director interested in the appropriate material. Be proactive. There are now more women’s roles as there are more women writers and directors. Not as many as some would like, but the landscape is changing, and as Bette Davis once remarked “If the work is good enough, the money will look after itself”. I know it is not easy.

 

There have been, over the years, productions that have been performed by ensemble casts, such as the All-Black Macbeth produced by Orson Wells, the all-male Swan Lake, the all-female As you Like It, the all black cast of Cat on a Hot Tin Roof, Streetcar Named Desire and Death of a Salesman.  They work because of the ensemble casting.

To introduce mixed race or gender into such a mix, would simply create a mixed reception. Some would think nothing of it and some are disconcerted by it. It is introducing an element unnecessary to the work. As well meaning and well intentioned such a mixture might be, it does not enhance the work or make it more meaningful. Talked about, maybe, but not more significant. If one is hung up on the question of casting, one is missing the point of the work, which, in my view, must come first.

 

It’s hard enough portraying life as it is, without mixing issues in an attempt to show how ‘with it’ the producers might be. If you want to address the issues of racism, history is so full of prejudice and evil, that there is no end of material to tackle. Some people are already on board with that. So a black Anne Boleyn with homosexual undertones is not really doing that, no matter how well performed.