Another Opening, Another Show*

I’ve read several accounts of how the Ithaca (NY) High School planned stage production of Disney’s full-length feature animated version of “The Hunchback of Notre Dame” was cancelled by a school district (in part) because of complaints that the girl cast as Esmerelda was perceived to be “too white”.  In my estimation there are larger questions to be asked of not only the Ithaca High School community, but of K-12 school communities across the country.

1)      Why did the school choose to produce this property, and what is considered by the Adults in Charge when selecting a property for production? Ideally three things go into the choice of a show: First, thoughtful consideration of the available resources—people, musical forces, facilities, in other words, what is; second, thoughtful consideration of the work involved and the time available; and third, envisioning the outcome—what can be as well as what is desired.

2)      Is the story being told in a way that maintains Hugo’s intent and the integrity of the story? This particular property is a Disney creation. As such it must be assumed that liberties have been taken with the original story, as it does with most Disney re-creations. Without casting aspersions on Disney (although I will freely admit I’ve already done so), the point of view the script, music, and cinematic images of these productions are often jarringly at odds with the original work.

3)      Can that intent and integrity be maintained in the face of current social mores? Much noise has been made in recent years about the wholesale destruction of artifacts and relics in the Muslim-controlled nations, but rewriting of history isn’t limited to those countries. Here in the United States, artwork, statuary, and even songs have fallen victim to someone’s narrow view; people who disagree are branded infidels, racist, sexist, misogynist, etc. and people who want to speak out, even mature, sensitive, reasonable voices,  are effectively silenced.

4)      There is the issue of artistic autonomy: How much discretion is given to the person/people in charge to propose, justify, cast, and produce a play, probably an extra-curricular activity, and who or what is owed justification for that adult’s choice? I can’t help thinking that there is a slippery slope to be navigated when choosing, justifying, and producing any theatrical property these days.

5)      People get nervous when conventions are put to the test. Call them ideas, traditions, sacred cows, or things of value, people will rally around what they believe in or believe to be important—as well they should.  The problem comes when the premise of that convention is flawed, as I believe it is in this case. 

6)      Since someone else will probably do it if I don’t, I’ll make the inevitable comparison to sports. Football coaches get tons of advice year-round—some of it asked for—but yet very few question their autonomy in choosing their assistants and training the players to compete in the sport of football (unless of course he and the team fail to win on a regular-enough basis).  If the coach is people-savvy, he’ll surround himself with the right people, ask advice of knowledgeable folks in not only the local community but the coaching world and beyond, and establish and maintain a good working relationship with the people placed in charge of him.  As a former K-12 educator and interested observer, I would want to know if the play director/advisor/faculty member in charge had that structure in place, and if he or she had that working relationship with the powers that be.

7)      Is the play part of the school curriculum? Then there are (or should be) structures in place to provide guidance as to what is appropriate content, and how material is presented in the classroom and to the community.  This goes back to #4 and the autonomy given to the adults in charge.

8)      To what extent has the community’s view of the play (and how it should be presented) been influenced by the Disney animated version? As a former musical director for community theater productions, I can say that Hollywood has a strong influence on how people, whether they’re actively involved in theater or not, view stage productions. For example, in one production of “Jesus Christ Superstar” in which I was involved, it became clear early on that more than a few of the cast members didn’t approve of my musical choices because “it wasn’t like the album” or “it wasn’t like the movie”.  In fact I specifically avoided listening to or watching any other recordings because I was not involved in re-creating a music video.  I was working with live people in live theater. The recent spate of made-for-television musical theater productions and the buzz around them is ample proof of this.  Many people are just becoming aware that the stage versions of The Sound of Music and Grease are markedly different than what appeared at the movie theater, and are noticeably upset.

9)      What part, if any, did race play in casting? According to NYS Department of Education statistics, Ithaca (NY) High School’s enrollment by ethnicity (their words) is 66% White, 13% Asian, 10% Black/African American, 6% Hispanic, 6% identifying as Multiracial, and less than 1% Native American. I have no idea how many students tried out for the play or the various roles, or certainly who was encouraged by whom to audition for that play. I would like to know if statistics are available on the makeup of high school theater participants.

10)   Even if your 1^st grade teacher said “time for music class” as she walked you to the music room or waited for the teacher to arrive to your classroom, after which she sprinted to the breakroom for that life-giving dose of caffeine, it is a fact that early training in the arts leads to greater willingness, confidence, and success in later participation and support of the arts at whatever level one finds oneself. Attitudes towards the arts—especially one’s individual view of their own artistic gifts, talents, and achievements—develop early, often influenced by the expressed and implied attitudes of those in charge of children.  

The situation at Ithaca (NY) High School is not going to be addressed or solved by slapping a coat of social justice rainbow paint on the current state of affairs.  Increasing artistic and expressive opportunities begins as it always does—with sustained, appropriate education and opportunity at the earliest possible age, parents and other responsible adults willing and ready to help the children in their care access that education and opportunity, and an unwavering commitment to the highest level of individual and group achievement.  Development of ideals in the public interest is not an overnight phenomenon.

I hope that this will be an ongoing conversation, and that reasonable voices will prevail.

*--from "Kiss Me, Kate" by Cole Porter;  opened on Broadway in 1948.

POSTSCRIPT: Florida school shooting all but took the Students United Ithaca group off the front pages, and that's just fine.  We have bigger fish to fry right now, right now, then who's getting a part in a forgettable Disney-version school play.

UPDATE (March 25, 2018): I was curious to see what show was being done by the young upstart theater company, and they have not only changed the show to "Hairspray", centered around an "American Bandstand"-like TV show in 1960's Baltimore, but--surprise, surprise, they have their director of choice, and many of the SUI 5 have leads in the show.  Exchanging one clique for another. No progress here.