The importance of Hamilton as an inherently non-white piece of media

Diversity and representation of people of colour is significant in the casting of all pieces of media including television, movies, and extremely popular broadway musicals such as Hamilton.  If you have been living under a rock, Hamilton is a musical about Alexander Hamilton, created by (and starring) Hispanic composer, lyricist, rapper and actor, Lin-Manuel Miranda. Hamilton is significant in the fact that it casts people of colour in roles that would be seen as “traditionally” white, and therefore, in the hands of someone else, these roles (like most roles) would largely be given to white people.

Recently, as Hamilton looked to expand its shows to other cities in the U.S, a casting notice was put up that called for “NON-WHITE men and women, ages 20s to 30s.” This sparked a significant amount of controversy, particularly coming from Actors’ Equity Association, the union that represents more than 50,000 professional actors and stage managers across America. Civil rights attorney Randolph McLaughlin, went as far as to say that this casting notice was a violation of human rights, stating, “What if they put an ad out that said, ‘whites only need apply’? Why, African-Americans, Latinos, Asians would be outraged.”  What McLaughlin fails to realize is that “whites only need apply” is basically the norm for the casting of most forms of media, even if it is not explicitly stated.

For example, this casting notice for Steve Martin and Edie Brickell’s musical, Bright Star clearly states “all characters are Caucasian” – which, according to the previous quote from Civil Rights attorney McLaughlin, is exactly the same as calling for “non-white men and women.” 

Except it’s not. It’s not the same because white people are not marginalized or underrepresented in mainstream society. It’s not the same because of the Actors’ Equity Association’s 50,000 plus members, 68% are white. It’s not the same because Bright Star is one of many musicals that hires either exclusively or mostly white people, where as Hamilton is one musical, standing alone in doing the opposite; providing roles and representation for the people who are excluded by shows such as Bright Star.

Additionally, even if it is not explicitly stated in the casting notice that “whites only need apply”, an on-going tendency for musicals to only hire white people to play lead parts is so significant that it is internalized by performers such as Isabelle Ohlmeyer. In her article for the San Francisco Chronice, Ohlmeyer wrote, “I have had years of experience in theater, yet casting directors can’t seem to look past the color of my olive skin. I have auditioned for Millie in “Thoroughly Modern Millie” and Wendy in “Peter Pan.” I can sing, act and dance. The casting directors selected white people to play Wendy and Millie. This has been a repeating pattern. As I enter (any) audition room, I know I won’t be cast as a lead female character." She then went on to highlight the importance of what Lin-Manuel Miranda and the producers of Hamilton are doing with this casting process, they are creating a space (one space, within a system, within a world that contradicts it), where “whites (are) the minority and diverse people (are) the majority”. I think this is something that we should be celebrating, and encouraging for the casting of other musicals, television shows and movies, not trying to fight.

It is also emphasised by Zeba Blay of Huffington Post that by implying that the roles of Hamilton should be as available to white actors as they are to actors of colour undermines the very thing that makes this musical so unique: “its inherent, unapologetic blackness." She explains that Hamilton is a negotiation of the past within the context of the present and future. That this is, at its very heart, a hip-hop musical – something that is inherent to the story, and therefore it is important to have a diverse cast, to have black leads. Blay concludes by writing ““Hamilton” is most definitely an inclusive show, an inclusive experience. But the fact of the matter is, quite frankly, not everything is about white people.” I think this quote sums up the situation nicely. White people, or people who buy into the dominant ideology presented in society (which is white), are very quick to reprimand people for being “politically correct” or “making it about race” when someone tries to address actually racist issues (in any context, including the racial politics of casting). But as soon as white people are excluded from the casting of one musical, the exception to the rule in an institution where white people get most lead roles, that is a violation of human rights?

Not everything is about white people. Get over it.

Isabelle Ohlmeyer’s article: http://www.sfchronicle.com/opinion/openforum/article/Hamilton-casting-call-for-nonwhite-actors-7232978.php

Zeba Blay’s article:

http://www.huffingtonpost.com/entry/no-the-hamilton-casting-call-for-non-white-actors-is-not-reverse-racism_us_56fd2c83e4b0daf53aeed9b9