Category Archives: THEATER


Dear White American Theater,

We come together as a community of Black, Indigenous, and People of Color
(BIPOC) theatermakers, in the legacy of August Wilson’s “The Ground on Which I Stand,” to let you know exactly what ground we stand on in the wake of our nation’s civic unrest.

We see you. We have always seen you. We have watched you pretend not to see us.

We have watched you un-challenge your white privilege, inviting us to traffic in the very racism and patriarchy that festers in our bodies, while we protest against it on your stages. We see you.

We have watched you program play after play, written, directed, cast, choreographed, designed, acted, dramaturged and produced by your rosters of white theatermakers for white audiences, while relegating a token, if any, slot for a BIPOC play. We see you.

We have watched you amplify our voices when we are heralded by the press, but refuse to defend our aesthetic when we are not, allowing our livelihoods to be destroyed by a monolithic and racist critical culture. We see you.

We have watched you inadequately compare us to each other, allowing the failure of entire productions to be attributed to decisions you forced upon us for the comfort of your theater’s white patrons. Meanwhile, you continue to deprioritize the broadening of your audiences by building NO relationship with our communities. We see you.

We have watched you harm your BIPOC staff members, asking us to do your emotional labor by writing your Equity, Diversity and Inclusion statements. When we demanded you live up to your own creeds, you cowered behind old racist laments of feeling threatened, and then discarded us along with the values you claim to uphold. We see you.

We have watched you discredit the contributions of BIPOC theatres, only to co-opt and annex our work, our scholars, our talent, and our funding. We see you.

We have watched you turn a blind eye as unions refuse to confront their racism and integrate their ranks, muting the authenticity of our culture and only reserving space for us to shine out front on your stages but never behind them. We see you.

We have watched you dangle opportunities like carrots before emerging BIPOC artists, using the power of development, production, and awards to quiet us into obedience at the expense of our art and integrity. We see you.

We have watched you use our BIPOC faces on your brochures, asking us to politely shuffle at your galas, talkbacks, panels, board meetings, and donor dinners, in rooms full of white faces, without being willing to defend the sanctity of our bodies beyond the stages you make us jump through hoops to be considered for. We see you.

We have watched you hustle for local, federal, foundation and private funding on our backs, only to redirect the funds into general operating accounts to cover your deficits from years of fiscal mismanagement. We see you.

We have watched you hire the first BIPOC artists in executive leadership, only to undermine our innovations and vision of creating equitable institutions, by suffocating our efforts with your fear, inadequacy, and mediocrity. We see you.

We have watched you attend one “undoing racism workshop,” espousing to funders you are doing the work, without any changes to your programming or leadership. You’ve been unwilling to even say the words “anti-racism” to your boards out of fear of them divesting from your institutions, prioritizing their privilege over our safety. We see you.

We have watched you promote anti-Blackness again and again. We see you.

We have watched you say things like, “I may be white, but I’m a woman.” Or, “I may be white, but I’m gay.” As if oppression isn’t multi-layered. We see you.

We have watched you exploit us, shame us, diminish us, and exclude us. We see you.

We have always seen you. And now you will see us. We stand on this ground as BIPOC theatermakers, multi-generational, at varied stages in our careers, but fiercely in love with the Theater. Too much to continue it under abuse. We will wrap the least privileged among us in protection, and fearlessly share our many truths. About theatres, executive leaders, critics, casting directors, agents, unions, commercial producers, universities, and training programs. You are all a part of this house of cards built on white fragility and supremacy. And this is a house that will not stand.

This ends TODAY.

We are about to introduce you… to yourself.



From top: Cynthia Erivo in 2015 in the original Broadway production of Marsha Norman, Brenda Russell, Allee Willis, and Stephen Bray’s The Color Purple, based on the novel by Alice Walker, photograph by Jemal Countess; Condola Rashad in the 2018 revival of George Bernard Shaw’s Saint Joan, photograph by Caitlin Ochs; Lilias White, photograph by Kevin Mazur; Suzan-Lori Parks, photograph by Melodie Jeng; Lynn Nottage, photograph by Jesse Dittmar; Sanaa Lathan in the title role of the Second Stage Theatre’s 2011 production of Nottage’s By the Way, Meet Vera Stark; Anika Noni Rose in the 2018 revival of Oscar Hammerstein II’s Carmen Jones, music by Georges Bizet; Viola Davis in the 2010 Broadway revival of August Wilson’s Fences. Text courtesy and © The Ground We Stand On.


This week, playwright Jeremy O. Harris—author of Slave Play and Daddy: A Melodrama—will participate in the opening night event of the New York Times series OFFSTAGE.

Patti LuPone, Mary-Louise Parker, Katrina Lenk, and Elizabeth Stanley will also perform.

R.s.v.p. below.


Thursday, June 11.

4 pm on the West Coast; 7 pm East Coast.

Jeremy O. Harris, from top: Ronald Peet and Charlayne Woodard in Daddy: A Melodrama (2019); Kahyun Kim and Tommy Dorfman in Daddy; Kim, Woodard, Peet, Alan Cumming, and Dorfman in Daddy, photograph by Sara Krulwich; Joaquina Kalukango and James Cusati-Moyer in Slave Play, photograph by Joan Marcus; Cusati-Moyer and Ato Blankson-Wood in Slave Play, photograph by Matthew Murphy. Images courtesy and © the actors, photographers, publishers, producers, and playwright.


Through the end of the week, five complete theatrical productions and two media works by The Wooster Group are now available to stream.

Selections include HOUSE / LIGHTS, TO YOU, THE BIRDIE!—a take on Racine’s PhèdreHAMLET, parts one and two, BRACE UP!—a reimagining of Chekhov’s Three Sisters, and the video works FLAUBERT DREAMS OF TRAVEL BUT THE ILLNESS OF HIS MOTHER PREVENTS IT, and CHANNEL J, starring Anna Köhler, Kate Valk, Ron Vawter, and Willem Dafoe.

All productions were directed by Elizabeth LeCompte. See link below for details.


Through May 15.

The Wooster Group, from top: House / Lights; Hamlet, part one; Flaubert Dreams of Travel but the Illness of His Mother Prevents It; To You, the Birdie!, with Scott Shepherd, left; Channel J, with Willem Dafoe (left) and Ron Vawter (right).


This week, Performa will stream an archival performance—Robin Rhode’s 2015 take on Arnold Schönberg’s ERWARTUNG, the first opera staged in Times Square.

Carole Sidney Louis and Moses Leo play Woman and Man in the production, which was part of Performa 15.

On Thursday, Rhode and Performa founder RoseLee Goldberg will discuss the work on Instagram Live.

See links below for details.


Thursday and Friday, May 7 and 8.

7 pm, all time zones.


Thursday, May 7.

11 am on the West Coast; 2 pm East Coast.

Robin Rhode, Arnold Schönberg’s Erwartung, a Performa commission, 2015. Photographs by Paula Court, courtesy and © the photographer and Performa.


Jaamil Olawale Kosoko’s CHAMELEON (THE LIVING INSTALLMENTS)—the online response to the postponement of Chameleon: A Biomythography—will include the livestream world premiere of Stank from Chameleon: A Visual Album, a Somatic Healing session with Michelle Boulé, and, to close the presentation, a performance of The Hold, with music by Everett-Asis Saunders.

The event will also feature conversations with Kosoko and Ebony Noelle Golden, Bill T. Jones, Ashon Crawley, Autumn Knight, and Ni’ja Whitson.

CHAMELEON (THE LIVING INSTALLMENTS) is a co-production of the Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute and New York Live Arts.

See links below for schedule and streaming details.


Wednesday, April 22.

From 8 am on the West Coast; 11 am East Coast.

Link to Kosoko’s recent podcast season of American Chameleon as well.

Jaamil Olawale Kosoko, from top: Chameleon: A Biomythography in performance, photograph by Sara Griffith; Chameleon: A Biomythography in performance, photograph by Michael Valiquette; Kosoko, photograph by Erik Carter; Chameleon: A Biomythography in performance, photograph by Griffith; Kosoko, photograph by Carter. Images courtesy and © the artist, the photographers, and EMPAC.