Above is the date and time that my daughter was told by another child, in the playground at school, that she wasn’t allowed to play with the other kids because she’s black.

I knew it was going to happen one day. I honestly didn’t think it was going to be today. I thought it was going to be a few years from now. Personally I got out of kindergarden unscathed. It was in grade 1 that I was hit with the racial slur in the school yard. But it was only once, by Jason Kalasson. I still remember the guys name and face. I’ll never forget it.

Right now she’s sitting in front of my old laptop, playing Little Bear. She’s smiling, playing, having fun, but I know that the wound she has is deep, and will last her entire life. I kinda hope that this is the worst that will ever happen to her in her life, but I know its not.

Now I’ve got to talk to my wife, we’ve got to talk to the teacher, the kid, etc. And I have to admit, a part of me is really weary. If the natural state of humankind is to divide ourselves because of our race and gender and gender preference etc, and to be cruel and exclusive,  then why constantly fight against it. I’ve got other things to do with my time. And then you look for places to find strength. And then you pick yourself up and keep walking.

Even when you know that there may be no destination.

Some of the comments were about trying to reach out to Canadians and explain to them why the arts are relevant to their experience.

Bullcrap.

We Canadians have to get over our collective shame. The reason why Harper is cutting the arts is because deep down, (actually, not so deep down) he’s ashamed of being Canadian. He’s ashamed of our artists. And there are many Canadians like him. Canadians who would prefer whatever is force fed to us by Americans.

Fine.

To me, Share the Stage is about pride. It’s about having pride in our artists of all different backgrounds and cultures. And if our own Prime Minister can’t stand up, and support our arts communities, then we have a lot of work to do.

I’m looking for ideas to create tools to foster diversity in all theatre across the country. Here are some to start.

Approach equity about having a diverse performer directory. ACTRA, (the film actors union) already has a directory for diverse actors pioneered by Sandy Ross. It really helped to expose film producers to the diverse acting community. It would be great to have one for theatre for the whole country.

A way to approach theatre schools to remind them about looking at performers of colour.

Introducing theatre schools to plays by playwrights of colour.

Play readings of diverse plays. Crosscurrents does an amazing job of reading new plays from all over Canada, but how about readings of classic plays from all over the world?

Approaching PACT to discuss diversity at their meetings.

These are just a few off top of my head. Please feel free to post a comment below. You can suggest, add, and criticize (constructively!).

It’s been a bit of a whirlwind this experience. I was really hoping for a kind of cathartic release, a kind of, ‘We did it!’ moment, but that’s still a ways off. In the mean time, I’d like to thank everyone who has participated, written emails, and checked in to this blog. I was hoping to have more news, but it’s all going to have to wait.
There are things that I’m excited about, and things I really hope to see when Shaw finally makes an announcement about next season. I have no idea when that will be, but I have my fingers crossed. I think Jackie’s a good person, and all will turn out for the best. That’s my wish.

I have received contact from a few people about how to extend Share the Stage. And I’ll be getting in touch with everyone soon. Do check in from time to time, and keep an eye on things!

For anyone who would like to help develop a program that would encourage diversity in Canadian Theatre. If you’re interested, email me: sharethestage@gmail.com!

We’re taking it slow. But it’s all very good.

Hello Share the Stage members! Well, it’s been a long week hasn’t it. Again, I’m going to thank everyone for their input and support after recent developments. I know this is yet another long assed post, but bear with me.

As you know by now, Jackie has cut off communication with me. And at first, I frantically tried to get in touch with her to try and keep a communication going, but over the weekend, I had a think and asked myself the question why. Why do I want to keep communication open with Jackie.

Recently I was sent an email from someone basically saying that even though you say it isn’t about you, it is really. You sent a play to the theatre and you were rejected. Let Jackie do her work. And it’s true, this began with my frustration at having my play rejected, but it has grown into something more. And yes, Jackie should be allowed to continue her work bringing more diversity to the stages of Shaw, but turning her back on this group is also turning your back on a golden opportunity.

Jackie said to me in our meeting that Shaw is no longer taught in schools. In my opinion that’s a crime. It is. I discovered Shaw when I was in highschool, and his work has had a major influence on my political playwriting. I would LOVE to see an initiative to get actors to take Shaw’s work right into the heart of some innercity schools. I honestly believe that Shaw’s Fabian tinged messages would resonate deeply with children of all cultural backgrounds. And if the Shaw would like to start that kind of initiative, they would really benefit from talking to Sarah Mackie and Richard Lee. Both are members of the group, and both have a lot of experience with youth and theatre and how to deal with the TDSB.

Shaw could also benefit from talking to Darren O’Donnell, another member of the group who is doing cutting edge work in merging theatre and community. And of course there are First Nations members of the group who have suggested it might be a good idea to reach out to the Native community that surrounds the theatre. And there are members who are disabled, and there are Spanish members, and West Indian members, and so on and so on, and I was really excited about Shaw reaching out to these communities. Not all at once of course. I’m having a heck of a time just returning emails of thanks, I don’t expect Jackie to drop everything and call all of you personally and take you out to lunch, but the group is a way to reach each and every one of you all at once. And I was hoping, in the long run, down the road, Shaw could share the group as an easy way to reach out to the community and keep us in the loop as to what’s going on.

I also had an email from someone asking if perhaps I wish I had been more conciliatory in my report about the meeting. I want to make it clear that after the meeting I was optimistic, but cautious. I really liked what I was hearing, but I also was frustrated with being told that I have to wait and see. It’s kinda like the way my wife feels when she asks me when exactly I’m going to get that vasectomy. I tell her that I am committed to the vasectomy, I have already looked up places in the phone book, and I am well on my way to booking an appointment. And I am, it’s true, but my wife doesn’t want to hear how committed I am. And if she started a Facebook campaign to get me a vasectomy, (and god forbid she does) and we meet at a restaurant, and I tell her, ‘I’m serious this time, honey, I know I’ve told you just wait in the past, but this time I’ll prove it to you’ my wife would be cautiously optimistic.

And I will say again, that the final paragraph of my post was meant to be conciliatory. Obviously I’m a better writer on my second draft. Darren O’Donnell compared the recent incident to a bad day at rehearsal. I would compare it to that one time when I wrote for television and I hand in my first draft and the executive producer calls to tell me I’m fired. But I don’t mind giving the paragraph a second shot. Here it goes. And here’s hoping that I don’t make things worse!

I’ll be honest with you, I wanted to hear more. I wanted to hear that they would hire a lead actor of colour, and a director of colour and program a play by a person of colour, yes yes yes! And I didn’t hear that. But what can I really expect? Institutions move slowly she said, and I am not blind to this reality. I really would hate to see her just throw someone up on the stage who is not ready. I could see in her a sincere desire to open the theatre to more diversity, however, I also sensed a hesitancy. I’m guessing that the hesitancy has to do with knowing how hard it is to create an ensemble, and balance all of the personalities, and as she adds more people of colour to the company, you want to do it right. Some actors may be worried that we in the group want Jackie to fire some of the members to make room for people of colour. Nothing could be further from the truth! I think we are all hoping that the ensemble can be expanded to include more people of colour in every part of the theatre.

There’s the second draft. I’m still trying to strike that right balance between conciliation and cautious optimism. Not sure if I’m there yet, and who knows, maybe I should just cut the speech all together.

Some of you have been emailing me about the Shaw Night. You can stop now. I have no idea if the tickets are still on offer. If you’d still like to go, then maybe you should find a way to organize yourselves. I think it’s fair to say to the group that 800 free tickets is a bit unreasonable. I would suggest you set a deadline for people to email someone and then after that, you’re out of luck. There is obviously a strong desire by many of you to extend an olive branch and see a play there. Find someone to contact the theatre, and I hope the theatre gives you the opportunity to do what they told me they would like you to do, which is see their work.

And finally, Eric Wolf’s dog suggested that it is only reasonable that Jackie would react defensively because of all the name calling she has had to endure. But it took a black member of the group to get it through my head that even though I’ve told people not to call her a racist in their emails, I don’t know if they’ve listened to me at all. Sorry Schubert, I obviously only listen to humans. I will say it again, name calling doesn’t help. I don’t believe Jackie is a racist, and even if she was, calling her one isn’t going to move the discussion forward. I’m also going to reprint something I put up on my blog:

My 3 year old has learned that my 5 year old hates being called names. My 3 year old doesn’t even know any bad names, so she calls her sister boodoo, or panna head. It means nothing, but Arianna, the 5 year, old bursts into tears every time it happens.

So today I pulled Arianna aside, and I told her that being called a name isn’t a big deal. You just have to ignore it. She wasn’t buying it. She asked me if I had ever been called a name. And I told her that I had. Her eyes lit up, she leaned into me, with an incredulous smile, as if she’s thinking, ‘Oh my God, Daddy knows what it’s like when someone calls you a name? Get out! Really?’ and then she asked me what names I’ve been called.

And I pause and a chasm opens up in my heart, and I looked at her, and in my mind, I thought, ‘Oh my beautiful daughter. I’ve been called a nigger. A darky. A negre. And one day you will be too. You are going to be called a name because of your race, and your gender, and there’s nothing I can do to protect you from the pain.’

And I opened my mouth and I told her that I’ve been called a boo boo head. And a Bingle Bangle. And she giggled. And I told her that it’s really important to ignore when someone calls you a name. Just know who you are, and know that your daddy loves you more than anything in the world. She smiled and called me a Bingle Bangle over and over again, and then it was time for supper.

To Jackie all I would like to say that many many people love you, respect you, many members of the group support you and wish you well. Being called a name really sucks. Many members of the group know what it feels like, but this too shall pass, and you will become stronger because of it.

This is Jackie’s response to my report of our meeting.

From Jackie:

I am disappointed at Andrew Moodie’s representation of my meeting with him yesterday.

I went to this meeting in complete good faith. I made it very clear that I was eager to hear the thoughts and ideas that he had collected and I listened carefully, responding openly. I assumed I would be represented accurately and without bookend editorializing which I fear casts a shadow on what was otherwise a productive meeting.

I have no desire to get into a “he said/she said” but must redress at least one unfortunate misquote: I never said the Shaw Festival Company is a “family”. That is an idea and a term I never use, as I think it is inaccurate, reductive and implies an emotional closed shop which we are not. What I had hoped to make clear is that the Shaw Festival Acting Company is a deeply committed Ensemble of working actors who are not hired as this lead or that lead, but as members of a Company. Therefore when I bring in new actors at any level it is important that they know that they are being asked for this kind of commitment, not simply being given a ‘gig’. I wanted to explain this for those who know little about the company – which Andrew assured me, were legion. I was in no way inferring that an actor of colour could not make this commitment. We will continue to include more and more diverse actors at every stage of their career.

I am going to withdraw from this particular public forum now as unfortunately I no longer feel that Andrew Moodie is a reliable interlocutor. I am going back to running my theatre compelled by the constructive ideas and thoughts I have received. There will be results from all of this but not as a knee-jerk response to ultimatums. They will be produced with the same care and thought that I give to all the art and artists that this theatre represents and will represent in the future.

Thank you all for your time and hearts.
Jackie Maxwell
Artistic Director
Shaw Festival

My response:

I want to clarify one point. It seems as though there’s been a misunderstanding. In my above post, I want to make it clear that characterizing the acting company of the Shaw festival as a family was in no way meant to be derogatory. Perhaps that wasn’t clear in my post. I was trying to find a word to differentiate the festival from others. In other companies actors are often hired for 6 week contracts. I do not mean to criticize the commitment that the Shaw has to it’s actors. I admire it. I just want to see more diversity in the company.

I will say it again, so that it is crystal clear, that after my meeting with Jackie I felt a sincere desire on her part to change the company to allow diversity, but also I felt the desire to hold onto the ensemble structure, by that I meant to imply that she was willing to add diversity to the company, but not become a company that simply hires a person of colour for 6 weeks and then lets them go. If that was not clear, or if that was misunderstood, I apologize.

I found it very encouraging that the festival is committing itself to expanding the mandate, and I expressed my desire to see things happen faster, but in no way did I mean to say anything that would end our dialogue. If the group feels that Jackie should communicate with another member of the group then I will step aside immediately, as long as communication continues.

Andrew

Okay, so I’m sitting in my office yesterday, casually going over stuff for the meeting today with Jackie and my agent calls. I have an audition right before my meeting. Of course. I get there and they’re 40 minutes behind. Of course. You may want to pick a leader that will turn down an audition for the greater good. I arrived just in time. Ah the Gods of Film and Television sure do like a good laugh.

First I want to thank Raoul, I wouldn’t have met with Jackie without his encouragement. And next I want to thank everyone who sent me an encouraging email before the meeting. It really meant a lot to me, and gave me a real sense that I’m not alone. It was really important for me to be able to explain to Jackie that it’s not about me being a disgruntled writer.

Now lets get to it. First I will tell you what Jackie told me. Then I’ll lay out everything you guys told me to tell her. And then I’ll give you their response and then I’ll encourage you to tell me what you think. Do not, I repeat, do not shoot the messenger.

Jackie began the meeting explaining to me what the Festival has achieved already in regards to diversity. They explained the new commissions from Canadian playwrights. And I’m sitting there listening to her explain how they’ve got a new Canadian play by Ann Marie MacDonald and I’m thinking to myself “Jackie… You are sitting across the table from someone who was told that your theatre doesn’t want his play because there are too many black people in it. And I’m supposed to be happy about the new Canadian plays you’re working on with Ann Marie MacDonald? I love Anne Marie, but how about starting off with… Andrew we are so sorry, it was wrong for someone from the company to tell you that your race bars you from the theatre.” I didn’t get a sorry. I’m sure Jackie’s reading this right now saying to herself ‘Fuck, I forgot to say sorry! Fuck!’ Look, I didn’t ask for one. I don’t need one, I’m a big boy, this isn’t about me, it’s fine. But it would have been really nice. Let’s move on.

Jackie spoke about the difference between Stratford and Shaw. Shaw is more of an ensemble. Stratford can hire people with more freedom, Shaw would like to create an ensemble.

Jackie explained that there are 2 leads in the company who are of a visible minority. And Richard and Lisa are not playing leads, but they are considered to be performers who will eventually grow and play a larger role in the company.

They have a speaker series with authors like Salman Rushdie

They are working with Cahoots

They have an intensive with young actors.

They are committed to Canadian artists. Directors, writers, actors.

My response to Jackie was as follows:

I told her that she may be doing wonderful things right now, but many people in the community don’t care. Many people in the community have had a bad experiences with the previous artistic director Christopher Newton, and wrote off the theatre years ago. And many, like myself, don’t want to set foot in the theatre again until there’s more diversity on the stage.

I explained that there may be two lead actors of colour, but the reason why all this began is because I was told that there’s a limit to how many people of colour the theatre can hire. I know sometimes some people frame the discussion about the Shaw Festival in a way that implies that they don’t hire people of colour. Which must make Thom Alison feel just dandy. I have never said that they don’t hire people of colour. I have said that they have a limit. And they shouldn’t. How can you do an August Wilson play with two actors of colour?

I explained that it’s great that they have Richard there and Lisa, but there are many, MANY established artists in the diverse community who are older than Richard and Lisa and who find the idea that before they could do a lead role that they would have to work their way up the ladder after playing a servant highly patronizing. I explained that there are actors in the diverse community who are classically trained, who have actually performed in Shaw’s works already, and who would love the chance to work in that environment. (What I forgot to mention, and I will now, is that there are actors of colour who also can do an English accent very well. Shaw’s work often requires a facility with a British accent. There are actors in the diverse community who are trained, talented and FROM ENGLAND and can do an authentic English accent because THEY’RE BRITISH. They wouldn’t need training. And there are others who are simply really REALLY talented and can learn different accents very well.)

I explained that their relationship with Cahoots is great, but many in the community are concerned that it’s tokenism. That it makes them look good on paper, but until they actually produce something together, or reach out to other companies, it’s just great optics.

Then I had a chance to ask her some questions.

I asked how the theatre was doing financially. She said it was doing very well. They feel confident that next year they will recover all the losses of last year.

I asked her to tell me what plays she’s doing next year. She said she couldn’t, (fair enough) but she told me generally who the playwrights were.

Then I told her the list of suggestions that I received from you guys. I’ll list the suggestions and your responses.

Add a diversity clause to your mandate.

(She said that was a good idea.)

Add diversity to your board of directors.

(She said that she was going to a board meeting right after our meeting and that it’s a good idea and she will bring it up with them.)

Change your mandate to include plays from visible minorities.

(In some very exciting news she explained that she has been planning for a while to change the mandate to include political plays, from any era that challenge the status quo in the same fashion that Shaw did. This I was VERY excited to hear. And I believe is a step in the right direction. It opens the door for plays by so many writers of all shades.)

Hire a visible minority actor to star in a non musical on the main stage.

(She said that she would try. She’s open to the idea, but – and really, don’t shoot the messenger – the acting company at the festival is a family. They are not like Stratford where they can hire a lead actor to come in for one show. That’s not a criticism of Stratford, it’s just a slight difference in approach. She feels that it is hard on the actors who have worked there for years and have wanted a shot at playing a lead role. If she hires someone, to come into the Festival, she wants them to stay and make a commitment for more than one season. And she expressed concern that perhaps an actor of colour might not want to come to Shaw and commit to staying for more than a season.)

Program a play for 2010 by a playwright of colour.

(And just to be clear with everyone, the list of playwrights she name who are in the 2009 season were all white. At this stage, it would be impossible to change the program for 2009. Budgets and board meetings were planned at least 6 months ago to plan 2009 and so it would be reasonable to expect a play by a person of colour to be in their season for 2010. She explained that she’s interested in the idea and will look at the plays suggested by the group.)

Hire a person of colour to direct a play next season.

Hire a person of colour to write a play for the.

(She agreed to look at a list of directors and plays collected by the group.)

I then asked her what she would like to say to the group.

She said that she realizes that they have to make their process more clear.

She cannot speak to the history of the previous artistic director, she can only speak about her accomplishments.

She understand the concerns of older established artists of colour.

She is going to open the mandate even more.

She agrees that even within the mandate there is opportunity for diverse casting.

She thinks it’s a good idea to add diversity to the mandate.

She will report to the board about diversity.

The whole company is listening.

There have already been conversations about diversity.

We will have to wait and see if she can put her money where her mouth is.

And finally she urged me to tell you all to come to the Shaw Festival. See the plays there. If you can’t afford the ticket, she said, and I quote, ‘Email me and I’ll get you a comp.’ I think she’s serious. I also think that she’s CRAZY. We’ve got 700 members now. But hey, she said it.

To be honest, I wanted more. I wanted to hear, ‘Yes we will hire an actor from the diverse community next year. We will hire a diverse director. We will program a diverse play in 2010. Yes yes yes.’ That’s what I wanted to hear. I didn’t hear that. I heard, ‘These institutions move slowly.’ and I know that, I’m not blind. I sensed from Jackie that somewhere in there is a will to change, but I also sensed a desire to hold on to something. I have no idea what it must feel like to be in that acting company, but I bet it feels like a family. I don’t know this, I’m just guessing. And I’m guessing that on a certain level, the whole company must feel like we’re threatening the integrity of the family. Nothing could be further from the truth. If the Shaw Festival wants to differentiate itself from other theatres by creating a sense of family, then by all means, do so, but in that family, you can have all the shades of the planet. A kind of Josephine Bakeresque Rainbow Tribe. She asked would actors of colour come if invited, and I said as long as they feel that they’ll have a chance to do quality work that challenges them. And I think that goes for all actors.

So what’s next? Glad you asked. First I want your input. Tell me what you think about what Jackie said. Tell me what YOU think we should do. Then I’ll post it here and then we’ll move on from there. And try and post soon. I’d like to give Jackie our response as soon as possible. Lets set a deadline of next Tuesday.

I bet you want to know how the meeting went dontcha.

Well, you’ll have to wait until tomorrow morning. Big post coming. And I want to do it all in one go.

Till then, stay tuned!