Atlas, Black theatre, Broadway, casting against type, Charles Lewis III, Chimamanda Adichie, color-blind casting, coroner tag, Darren Wilson, Do a Good Turn Daily, Eric Garner, ethnic identity, ethnic theatre, Ferguson Missouri, Gina Prince-Bythewood, homosexuality, In For a Penny, independent theatre, indie theatre, Les Mis, Les Miserables, mainstream theatre, Michael Brown, mixed race, Norm Lewis, NYPD, Oprah Winfrey, Pamela Moore photographer, Phantom of the Opera, Pharrell Williams, post-racial America, Raven-Symoné, San Francisco Olympians Festival, San Francisco Theater Pub, self-identification, SF Olympians, SF Theater Pub, This End Uppity, touring productions, Trayvon Martin, typecasting, Veronica Tjioe, W. Kamau Bell, White privilege
In which Yours Truly ponders the labels we have placed upon us, the restrictions they create, and my own place in a world gone mad.
Charles Lewis III, breaking his own format.
“Definitions belong to the definers, not the defined.”
– Toni Morrison, Beloved
This is about race. You don’t wanna read about it, click on something else. Now that we’ve gotten that out of the way…
In all my years working with the SF Olympians Festival, I can’t recall a year where there were so many divisive; plays that made the audience grateful for the imaginative power of theatre alongside many plays in which the audience felt their lives ending by the minute. I didn’t catch every single play this year, but if there’s one that still positively resonates with me weeks later, it’s Half-Breed, Veronica Tjioe’s one-act based on the myth of the Minotaur. It’s about a mixed-race (half-Asian/half-White) woman coming to terms with her ethnic identity after…
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