A few weeks ago I co-authored a review essay on the musical Fun Home with my student Rachel Windsor; that pleasurable, rejuvenating exercise was exactly what I needed at the end of a long and tiring term.
So I’ve been at it again: this time with a terrific postdoctoral fellow who works with me at Western University, Dr Erin Julian.
Erin and I are currently collaborating on a research project about diversity and inclusion at the Stratford Festival, a large repertory company grounded in the plays of William Shakespeare. Stratford has been working hard in recent seasons to shift its image as a straight and white kind of place, making big strides in hiring younger, more ethnically, racially, and gender-diverse cast members and thinking outside the old, familiar box of “what the playwright intended” (as if we could ever know that, anyway).
(Please, people. We all know Shakespeare intended to go to the beach!)
All of these strides are great, of course. But what, Erin and I wondered, does it really mean to practice diversity and inclusion at Stratford, as opposed to just representing those things? That is, what does it take for a non-straight, non-white perspective to become the seed for work, the grounding place for a vision, and also (crucially) the starting point for new working practices, rather than just the thing a theatre company wants the public to see, perceive, or believe about it?
We can – and should, of course – ask the very same questions of our educational institutions, our employers, as well as our own classrooms.
As Erin and I developed our project’s research questions, we were inspired by the important work done by Toronto’s Modern Times Theatre Company in their “post marginal” initiative (read more about that here), and especially by the associated symposium, “Beyond Representation,” that took place in Toronto in April 2017 (read the final report from that superb event here, or check out video of the speakers and panels here). We were also inspired by the work of Keira Loughran, a playwright, actor, and director who works for Stratford as both the head of its playwrights’ unit and Forum public engagement series, as well as in her capacity as a theatre artist.
(The fabulous Keira Loughran)
Just around the time that the “Beyond Representation” symposium got me thinking deeply about diversity as theatrical practice, Keira told me about her vision for her summer 2018 production of Comedy of Errors at Stratford. She wanted its world (called Ephesus in the text) to be gender-fluid, as well as generationally and ethnically crosshatched: in other words, a world that all of the characters could inhabit completely comfortably, in both their similarities (the play is littered with twins and mistaken-identity plots) as well as in their profound and meaningful differences. She told us about her plans for the script, for casting, and for building links with the trans community, particular via artist-consultants from that community who came on board once rehearsals began in March.
(The fabulous Sunny Drake, one of the consultants on Keira’s production)
Erin and I decided that Keira’s production would be a brilliant way for us to dive deeply into the challenges practicing diversity in a thorough-going way, at all levels of theatrical development, can pose at a large, resource-rich, but also traditionally-minded and subscription-audience-driven festival like Stratford. We had some hunches about what these challenges might be, but we were also willing to be surprised about both the good and the not-so-good.
Truly, we simply wanted to take the measure: when you commit to working diversely and inclusively as a starting place, when that kind of work isn’t your workplace norm, what happens next?
We’ve been shadowing Keira’s process since early winter, including attending rehearsals and workshops, and we were thrilled to be invited to a dress rehearsal in early May. The show opens this week, and we’re excited to see how audiences and critics respond.
(The promo image for Keira’s Comedy of Errors, featuring Jessica Hill and Qasim Khan as the central twins. It’s selling out – grab tickets soon!)
Erin and I also recognize, though, that with our privileged perspective as academic insider-outsiders comes responsibility: the responsibility to help audiences (including critics) to see something of the complexities of process lying behind the stage world they will encounter at Comedy of Errors. Keira’s version of Ephesus isn’t going to be what a lot of audience members will be expecting; how might we, with our nuanced sense of the production’s development, help them get oriented, find their feet in this different-looking place?
Audiences, we think, not only should know, but need to know at least a bit about how the incredible care taken and commitment shown by Keira, her cast, and her entire team to building a thoughtful, deeply humane world of body inclusivity has shaped the final product they will see. Seeing only the product is tantamount to seeing diversity only as representation, not as lived practice or indeed as workplace practice. In relation to this production, that feels wrong.
So last week we reached out to Keira to ask if she’d permit us to write a preview article for Stratfordfestivalreviews.com about our shadowing of the production, what we observed and what we felt about our observations. Keira – who is deeply aware that some Stratford audience members may feel somewhat alienated by the world her team has created – readily agreed.
I’m now really pleased to share the article with you. In addition to being a window onto a gender-diverse and non-conforming Shakespeare production, I hope it can also serve as a bit of a primer, inspired by Keira’s thoughtful directorial guidance, on how we might all practice body diversity and inclusion in more effective ways in our classrooms and rehearsal spaces – not just representing it, but living it with our students and thus modelling inclusionary perspectives and actions as new cultural norms.
As Keira’s process reveals, diversity practice is genuine, proper work, but it’s really not that hard to do: it simply requires us to begin, as Donna Michelle St-Bernard noted in her “Beyond Representation” keynote address last April, from this basic question.
What would happen if I imagined that I was ACTUALLY the centre of the universe?
I’d know I was not the most oppressed person in the room. I’d have to turn around to see who was behind me.
Click here to access my and Erin’s preview, “The Comedy of Errors: Building Inclusivity at the Stratford Festival.” Thanks in advance for reading!