Out On Broadway

Broadway is facing two simultaneous crises according to leading LGBTQ+ theatre people.

First and most obvious- the Covid 19 shutdown of all performing spaces; but second a more long-term issue about equality and fairness, highlighted now by the Black Lives Matter movement, but by no means a new issue.

Morgan Stanley’s 8th annual Out On Broadway webcast, led by LGBTQ+ theatre professionals was this year of necessity completely a virtual affair and I was lucky on behalf of Gscene to be able to sit in on its fascinating discussion.

Its participants included Christian Dante White, who’s just had a great success on Broadway as Freddy in the revival of My Fair Lady, Leigh Silverman, a Tony-nominated director; Jenn Colella, a Tony-winning actress, singer and comedian and Michael Urie, award-winning actor, producer, director who has just run the lgbtq+ festival Pride Plays based in New York and this year entirely streamed.

The shadow of Covid 19 and the death of George Floyd fell over the hour-long programme, but on the bright side the speakers were delighting  in the US Supreme Court decision on lgbtq+ employment rights.

So it’s an uncertain time for theatre, but as all the speakers agreed, it could be a decisive turning point for equality and fairness in the performing arts. Michael Urie said: “ it speaks to the moment we’re in . Video is an empty space in  which you create. Zoom creates empty boxes and these boxes can create theatre – and theatre that involves the audience “

Consensus was that Black Lives Matter has many parallels with the gay liberation movement of past years. Michael Urie claimed that being gay had actually helped his career- though he accepted that many gay actors have been advised not to “ come out “ for their careers’ sake. Urie added: “ I feel completely myself in the theatre, and it can be exciting for fans to see someone gay succeed on Broadway”

Leigh Silverman pointed to the prejudice against women in the theatre: “ In 2006 I was 1 of only 7 women to direct a Broadway play. It’s harder for people of colour to make the breakthrough and even harder for women of colour. Chasing the money leads to white men. “

Silverman and Urie worked on the Broadway show Grand Horizons earlier this year. Its creator Bess Wohl was the only woman playwright on Broadway in the last year. Despite a strong movement for change 2020 has seen  only one black director on the aptly-named Great White Way.

And when lgbtq+ stories are told they tend to be about gay men. One notable exception, the musical Fun Home – which I reviewed recently for Gscene  made it to Broadway bunt that was  5 years ago. Silverman says the solution is easy: “ hire different people”. Urie agrees: “ That’s how you do it. There’s also a big  gap between people with a foot on the Broadway ladder and the stars at the top.”

Then there’s the vexed issue of straight actors playing gay characters, while many gay actors are unemployed. Straight actors have been nominated 62 times for Oscars for depicting gay characters: only one out gay actor has- Ian McKellen.

Urie says: “ We  come out every day – it doesn’t end. Straight people don’t get asked when they came out as straight. “ So what’s the next challenge? Urie is clear: “ Medical and other rights for trans people. For the queer theatre community BLM and the virus are creating new work that speaks to this moment. I can’t wait to get back in the theatre and hear the voices of this new moment. “

Jenn Colella added: “ I hope things get shaken up on Broadway. I’m done with all those old white straight stories.”

Christian Dante White added: “ I want unheard voices to have a platform – actors, crew and audiences should be made up of everybody . In the theatre I want a rainbow experience, and where the money is too. “

Leigh Silverman concluded: “ We’ve  never had 100 per cent unemployment before – every franwewok has to be re- invented . Broadway might be for New Yorkers and not tourists for a while, and finally be more accessible- ie cheaper. What Zoom has produced is large audiences for small-scale productions and much more accessibility”.

Only time will tell if the production methods forced on us in isolation have a future role – I think they might.