Suggestions for Next Steps related to Marginalization in WNY Theatre

Compiled by Peter Horn, Co-Coordinator of ARTA’s Stage Directions Action Team 

Listed below are suggestions from the Forum on Marginalization in WNY Theatre held on November 25, 2024 at Shea’s 710, co-sponsored by ARTA and Shea’s. Fifty-one participants attended the event, including representatives from 15 area theatres: Bellissima Productions, Buffalo United Artists, Brazen-Faced Varlets, First Look Buffalo, Irish Classical, Jewish Rep, Kavinoky, Lancaster Opera House, MusicalFare, Post-Industrial Productions, Road Less Traveled Productions, Shake on the Lake, Shakespeare in Delaware Park, Shea’s, and Theatre of Youth. 

The suggestions below are condensed and lightly edited from ideas offered at the event and afterwards, according to the Legend for Suggestions. A preview version of this list was made available to Forum attendees on January 5, 2025 for corrections and clarifications; a final version was released on January 14, 2025.

Arranged in broad (and sometimes overlapping) themes, the items are numbered for ease of reference in ongoing discussions in theatres, in ARTA, and elsewhere in the community. Inclusion in this public document does not imply that any given suggestion is necessarily endorsed by ARTA or Shea’s.     

Legend for Suggestions. [A] indicates a suggestion submitted as feedback after the Forum; [F] was spoken in public remarks during the Forum; [I] was written on an index card at the Forum.

COMMUNICATION

1.    Avoid expressions like “I don’t see color.” Those of us standing in front of you in living color certainly do. [F]

2.    Allies should seek out voices of people in marginalized groups, but remember that this conversation can be exhausting for people in marginalized groups. [F]

3.    Create an opportunity for practitioners to report unacceptable behavior in a theatrical space. [A]

4.    Practitioners and producers committed to this work could come up with a collective mission statement that can be posted. [A]

5.    I think we should have more forums sharing the actions that have been taken within individual theaters after this first forum! If we all gathered together 3-4 months from now, representatives from each theater company in the WNY area could share what they’ve done to combat marginalization in the community. Whether it be sharing new programs that they’ve created, community outreach workshops/internships, what high schools or universities they’ve collaborated with, etc. That way, these forums become about actions instead of words. [A]

6.    Because some folks shared that they believe they may risk their career in local theatre by speaking truth to power, maybe ARTA would be open to allowing theatre practitioners to reach out to ARTA when we witness a problem, and then ARTA can reach out to the theatre in question for further discussion. [A]

EDUCATION

7.    Systems built on and operating out of white supremacy will not be dismantled by the free labor of the global majority. There should be a  place/way to offer some type of “white un-learning” space, led by white people, so that white people are doing this work in spaces on their own time. [A]

8.    Create a monthly blog highlighting a different topic of marginalization in the community for us to continue learning. [A]

9.    Invite members of different groups to a monthly meeting to speak and to share. [A]

10. Provide a forum specifically on bullying (on social media and in person) in the community. [A] 

11. Commit to neurotype diversity education. [A]

12. These discussions need to be offered as a series of workshops that extend beyond the comfort of a single entity. Tap into your resources and community members, as they know what is needed and can provide valuable feedback and suggestions that will be accepted and embraced by the community. [A]

HIRING

13. Consider the BBC model of casting quotas or casting minimums, as a local means to pursue affirmative action, e.g., “We need to cast x number of queer artists.” (There is the challenge of enforcement: we would need to think about sticks and carrots, or else we’re left with “We commit to hear more voices.”) [F]

14. Vary solicitation of designers; often the same people are asked over and over. [F]

15. Follow the model of open auditions for backstage and creative team talent as well. [F]

16. Interrogate prerequisites for auditions/interviews. [F]

17. Don’t forget that opportunities need to be given to marginalized people of middle and advanced ages as well, who have been or felt marginalized for decades—not just “the younger generation.” [I]

18. Create a database of practitioners and their disciplines. [I]

19. If ADs or Admin staff MUST work on the shows they produce, they should hire assistants, associates, or students to work alongside them. [A] 

20. Let’s establish some kind of job fair for students in local programs who are graduating. Or maybe even just anyone looking for work no matter their age or student level. [A]

LEADERSHIP

21. Assess Boards as well as creative teams for inclusiveness. [F]

22. As theatre makers, how do we tell stories in such a way that will connect with audiences we’d like to reach? How do we learn how people in different cultures tell stories (e.g., more through singing and dancing than traditional straight plays), and provide opportunities for everyone to do so? [F]

23. Consider offerings like free staged readings as intentional ways to expose audiences to other cultural experiences, e.g., people with disabilities, migrant communities, communities anchored in churches. [F]

24. Incorporate into first rehearsal protocol how to handle inappropriate behavior, e.g., unwanted physical contact, offensive language. Maybe a template, or role play? Could be equally beneficial for people feeling marginalized or powerful in a given institution to practice having difficult conversations as a normal aspect of work. [F]

25. Leverage the less obvious skills of your staff (e.g., someone hired for one role may be qualified to lead training in another). Find out what they’re interested in and able to do. Establish a database for sharing additional talents and skills (or, for practitioners: list these skills on your ARTA Member Page). [F]

26. Remember that this work entails ongoing and reflective attention, rather than token casting decisions. For example, how many times are Black actors cast in roles that do not specifically call for a Black actor? [F]

27. Maybe we can collaborate to develop a list of Big Questions artistic directors and teams should be asking when they’re looking at seasons, including Is this the story that needs to be told? Who can we hire who is new? Who needs training and experience? How can we get them the training? [F]

28. Stage managers and technical designers need to be REWARDED. Not only paid but honored at the Arties, or other galas. Often they put more work into a show and get no recognition. [A]

29. Require intimacy directors for ALL shows with ANY physical touch. Helps advocate for actors and create safe environments. [I]

30. Consider joining ARTA, because people who are concerned are more powerful together. Anyone involved in making theatre in WNY can be a member. (If you’re involved in hiring decisions at a theatre, you can’t serve on ARTA’s Member Council, but you can serve on any committee you like!) [F]

31. Theatre leaders should collaborate with other area non-profits to support real local causes like child poverty and local government reform. [A] 

32. It’s illegal to miscategorize employees as Independent Contractors. Let’s stop doing that. [A]

33. There are things that all companies would benefit from implementing (e.g., working together with TAB to focus on getting newer diverse audiences and artists into the internships and the training programs that exist). Perhaps some qualitative research in those target communities could identify barriers we can correct. There is a scarcity mindset because there is scarcity—lower attendance, fewer donors, etc. We have to figure out how to get engagement again in the theatre by the broader community. [A]

34. Have a vetting process for choosing material to put on stage. [A]

35. Maybe ARTA could fill the gap of script analysis for theatres who seem to struggle in this area. Perhaps a committee assembled by ARTA could be hired by theatres to review content and point out potential issues. [A] 

OUTREACH

36. Reach out to Black and Brown people for all positions related to theatre—not just on stage, but backstage (e.g., crew), and creative teams (e.g., designers), and in the seats. Find out where young people on the East Side or South Buffalo are getting information, and get the word out there. Don’t just rely on social media. Consider The Challenger for reaching Black audiences, for example. [F]

37. Figure out how to bridge the gap between theatres looking for Black actors and Black actors not even knowing they’re welcome. Consider the example of the internship program in RLTP’s Bridge Program. [F]

38. Develop a list of publications/websites helpful for reaching wider audiences. [F]

39. Consider the example of Geva Theatre in Rochester partnering with indigenous groups. [F]

40. When I hear people say “ARTA should do X,” I think, “You should be ARTA, and we should be you!” Getting more folks to join and PARTICIPATE is a priority. [A]

41. Let’s get more queer/trans stories on that stage. We need them now more than ever. [A] 

TRAINING

42. Identify training that’s needed and offer it. Think about tech and other roles as well. [F]

43. Improve access to education or training opportunities that allow artists to grow their crafts and skill sets, and obtain more employment in areas of performance, design, leadership and administration. [A] 

44. Let members of the Global Majority cut their teeth on the job, as White practitioners have traditionally been permitted to do. [F]

45. Enable designers to work in a greater variety of venues and develop new skills (e.g., learning how to light actors with different skin tones). [F]

46. Institute internships, mentorships, and shadowing programs (e.g., for novice stage managers and aspiring designers) as ways for new practitioners and students to learn the ropes. [F]

47. Provide cultural competency training, perhaps as a micro-credential. [F]

ARTA Ad Hoc Forum Planning Team

Robin Barker, Peter Horn, Kristen Tripp Kelley, David Lundy, David Marciniak, Victoria Pérez-Maggiolo (Shea’s liaison), Matthew Refermat, Amelia Scinta, Davida Tolbert, David Wysocki