‘I hope it’s getting there’: Theatre lovers join conversation on diversifying Broadway

As people reclaim their seats in the theater post-pandemic, they may find Broadway at odds over inclusivity and diversity.

Like other kids, Hannah Schacht did theatre in high school. Once, she auditioned for a school production, hoping she’d get cast in a lead role instead of the ensemble. Her mother, who worked closely with the show’s director, asked the director what Hannah could work on to improve her chances of getting cast. The director said it wasn’t a matter of talent that would affect Hannah’s chances of getting cast — it was her race.

At her Texas high school where most of the student body was white, roles for people of color — for people like Hannah, who is multiracial — lacked. Because of that moment, Hannah developed a sixth sense when it came to seeing which Broadway shows promoted diversity — and which fell short.

“I couldn’t fill the part of those roles, so since then I think I’ve been really aware of what shows are promoting diversity or lacking diversity,” Schacht said.

Larger calls for Broadway to diversify catalyzed during the summer of 2020, following the police killings of George Floyd and Breonna Taylor. Advocates and performers rallied together to shine the spotlight on the inaction of Broadway productions to diversify their cast and creative teams. The disparity was stark.

A visibility report published by the Asian American Performers Action Coalition revealed the scarcity of BIPOC representation on Broadway during the 2018–2019 season — Broadway’s last full season before shutting down due to the Covid-19 pandemic. The report found that white actors comprised 65.9% of all Broadway roles, and 89% of Broadway writers were white. Among all the directors and producers of a Broadway musical or play, about 93% were white.

So as the curtains rise after an 18-month shutdown, Broadway’s commitment to diversity and inclusion will be put to the test. But theatergoers and performers alike are left wondering: will it be enough? And what does true diversity look like?

For Schacht, theatre has come to define a large part of her experience at New York University. During her first two years at NYU, Schacht saw 42 shows, over half of which were Broadway musicals and plays such as “Hadestown” and “To Kill A Mockingbird.” These shows catered to Schacht’s idea of what diversity should and could be — a thoughtful and intentional effort to include voices from all types of backgrounds.

“Diversity on Broadway is inclusivity and representation where it matters — in new contexts that embolden the themes of shows without harming the integrity of the plot,” Schacht said.

Sarina Johnson, another student at NYU who shares Schacht’s passion for theatre, echoes her sentiments about diversity on Broadway. However, as a white audience member, Johnson recognizes she can’t relate personally with a lack of representation on Broadway but supports the efforts undertaken by the BIPOC community to rectify the exclusion.

“You realize how few people actually get to see themselves on stage,” Johnson said. “I try and advocate for it as much as I can. I support the BIPOC community members and their commitment to Broadway.”

Nevertheless, Johnson remains skeptical of Broadway’s commitment to change, stating that their attempts to enact positive change within the industry may be a mirage of performative action.

“I think they might be very surface level,” Johnson said. “I hope to see it continue, and I hope to see it not stop at a good idea.”

A month before Broadway’s reopening, multiple Broadway organizations, alongside Black Theater United, developed a document outlining the commitments of the theater industry to “reform…across issues of equity, diversity, inclusion, accessibility, and belonging with a focus on Black professionals.” Signed by the owners and operators of 39 Broadway theaters, this document, called “A New Deal For Broadway,” aims to implement BIPOC representation throughout the Broadway hierarchy of producers, creatives and cast.

“This document memorializes our commitments — to our industry, to each other, and to ourselves,” the document reads. “We know that we must do better, and we commit to leaning into change.”

Matthew Isaiah Gardner, a student at the American Musical and Dramatic Academy, believes Broadway has honored their commitments to foster inclusivity — though their work isn’t done yet.

Gardner, 18, is an aspiring Black actor who feels personally connected to Broadway’s diversity movement. He said that everyone deserves an opportunity to tell their own authentic stories, which is why watching “Tina: The Tina Turner Musical” resonates with him so well. To him, watching a cast of Black actors feels extraordinary.

“It feels special to me as a Black person sitting here to see an all-Black cast that inspires me and motivates me to keep fighting,” Gardner said. “It lets me know that I’m in the right profession, and it lets me know that I’m where I need to be in life and in this moment.”

These young theatre fans and actors approach Broadway’s transformation with a cautious hopefulness, acknowledging that progress remains but applauding how far Broadway has come.

“These new shows know no limits,” Schacht said. “Producers are becoming aware that theatre is becoming more accessible slowly but surely and has to appeal to a wider audience.”

Schacht, Johnson and Gardner are part of a new generation of Broadway enthusiasts that are are ready to take and make space for marginalized voices. They each believe in Broadway’s potential to be a home to every type of theatre kid, to every type of story and to every type of audience. They each stand firm in their belief that there is no turning back.

“We all deserve to be represented on that stage,” Gardner said. “We’re not going anywhere. We are not leaving. The door will not be shut again because we will kick it down, and we will keep fighting.”