Showing posts with label #ActingDiversity. Show all posts
Showing posts with label #ActingDiversity. Show all posts

Tuesday, August 29, 2017

Whitewash Wars: White actor turns down role for Asian/American character

Ed Skrein did the right thing by turning down the role to play an Asian/American character in 'Hellboy.

ACTOR Ed Skrein just won over another fan; maybe millions. He turned down a role in the upcoming Hellboy that he learned should go to an Asian/Amerian actor.

"I must do what I feel is right." said Skrein when he learned about the casting controversy for a character that should be portraiyed by an Asian or Asian/American.

Not many actors would turn down a role based on a principle. Screin's parents must have raised him right.

Skrein would have played Major, a character originally portrayed as an Asian/American in the Mike Mignola comic-book series that serves as the source material for the Hellboy franchise.


When he was cast, social media protests exploded on the Internet pointing out that it was another case of whitewashing, similar to what recently happened with Scarlett Johansson in Ghost in A Shell, Emma Stone in Aloha and Tilda Swinton in Dr. Strange, all of whom portrayed characters that were Asian or part-Asian in origin.

Representatives for Lionsgate, the studio producing the film, told the press “Ed came to us and felt very strongly about this. We fully support his unselfish decision.” The statement continues, “It was not our intent to be insensitive to issues of authenticity and ethnicity, and we will look to recast the part with an actor more consistent with the character in the source material.”

Unfortunately, Skrein's decision is still the exception. He should be commended for "getting it."

"It is our responsibility to make moral decisions in difficult times and to give voice to inclusivity," Skrein stated. "It is my hope that one day these discussions will be less necessary and that we can help make equal representation in the arts a reality."

Skrein's decision didn't go unnoticed by Asian/American actors:


The British actor's entire statement follows:
I accepted the role unaware that the character in the comics is of mixed Asian heritage. There has been intense conversation and understandable upset since that announcement, and I must do what I feel is right.
It is clear that representing this character in a culturally accurate way holds significance for people, and that to neglect this responsibility would continue the worrying tendency to obscure ethnic and minority stories and voices in the Arts. I feel it is important to honour and respect that. Therefore I have decided to step down so the role can be cast appropriately.
Representation of ethic diversity is important, especially to me has I have a mixed heritage family. It is our responsibility to make moral decisions in difficult times and to give voice to inclusivity. It is my hope that one day these discussions will be less necessary and that we can help make equal representation in the Arts a reality.
I am sad to leave Hellboy but if this decision brings us closer to that day, it is worth it. I hope it makes a difference.
Skeinn is not a household name and he could have used this role to springboard to bigger parts, but he chose not to take that selfish path. He'll get other roles and the publicity from his decision will likely open more doors. (That is an option that's not available for most AAPI actors.) Let's hope that Skrein's precedent-setting act inspires other actors with even bigger names to think twice before taking roles meant for Asian or Asian/American actors. _________________________________________________________________________________

Friday, October 14, 2016

CBS launches initiative to increase diversity in its shows


CBS is looking for some fresh faces! And it is looking for actors of color. So it is leaving the traditional Hollywood and New York City entertainment Meccas to find new talent.

On Thursday (Oct. 14) CBS announced the launch of the CBS Drama Diversity Casting Initiative, a nationwide program to find new breakout talent for CBS’s current series and upcoming pilots. 

“This outreach is a real opportunity for CBS to discover actors located across the country, outside of Los Angeles and New York, who haven’t had the chance to meet or be seen by network casting executives,” said Glenn Geller, President CBS Entertainment. “We’ve had great success with our CBS Diversity Sketch Comedy Showcase, which launched the careers of numerous actors, and we are confident this will do the same.”


The initiative, which is part of the CBS Diversity Institute, is designed to reach untapped talent across the country, including areas with limited access to industry professionals, and bring them to the attention of casting executives and CBS showrunners, culminating with a Network screen test in Los Angeles. The new initiative builds upon the Network’s long-running, successful Sketch Comedy Showcase.

Through Friday, Oct. 28, actors 18 and older can submit a self-taped monologue viawww.CBSDiversity.com. The initiative is focused on increasing opportunities for people who belong to groups that have traditionally been underrepresented, including Asian/American, African/American,  Latino, Native/American, Pacific Islander, LGBTQ actors and performers with disabilities. 

Actors should possess strong dramatic talent and a technical skill set—and of course, a love of CBS programming!

CBS casting executives will review all online submissions and make selections for regional callback auditions in Atlanta (Nov. 7-9), Austin (Nov. 3-4), Chicago (Nov. 2-4), Miami (Nov. 10-11) and San Francisco (Nov. 10-11), where the actors will rehearse with casting executives and be put on tape. 


RELATED: Wave of Asian/American roles continue into new TV season
Following these regional casting sessions, 14-16 actors will be selected to travel to Los Angeles for a Network screen test that will be utilized for casting opportunities for current series, pilot season and beyond.

The Network's ongoing talent initiatives are part of the CBS Diversity Institute, a comprehensive program designed to identify and develop diversity and inclusion within the writing, directing and talent communities. In addition to the Comedy and Drama Showcases, the CBS Diversity Institute includes the CBS Writers Mentoring Program, the CBS Directing Initiative and numerous actor workshops conducted nationwide, as well as writer workshops conducted in Los Angeles.


Geller hopes to repeat the success of CBS’ diversity comedy showcase whose alums include Emmy winner Kate McKinnon (Saturday Night Live), Justin Hires (Rush Hour, MacGyver), Geoffrey Arend (Madam Secretary), Eugene Codero (Crazy Ex-Girlfriend), and Masi Oka (Heroes,Hawaii Five-O).

For more information regarding the CBS Drama Diversity Casting Initiative and to download an application to submit a monologue, please go to www.CBSDiversity.com.

And for those submitting—we wish you good luck! We hope to see you on-screen soon!

Friday, October 16, 2015

TGIF FEATURE: The Brothers, Monstress and Remember The I-Hotel

A scene from "Monstress"
AMERICAN CONSERVATORY THEATER (ACT) will be presenting another story by Filipino/American writer Lysley Tenorio after producing the world premieres of two one-act plays by the same author last week in Monstress.

The Brothers is from Tenorio’s debut collection, "Monstress" (HarperCollins, 2012).

Tenorio had this to say about the origin of “The Brothers:

"There’s a bar in San Francisco called Asia SF, which is famous for its “gender illusionists”: the transsexual and transgendered Asian-American waitresses who perform hourly atop the bar/runway, lip-syncing disco classics and power ballads. I wouldn’t call them drag queens; they don’t really possess that winking camp that lets everyone know they’re in on the act. Instead, the women of Asia SF have worked and sacrificed to turn themselves into the people they truly want to be. 
"On one visit, I met a Filipina-American waitress who told me about her family in the Philippines, and how they weren’t necessarily cool with how she was living her life. I was moved by her story, and immediately thought of ways to render that kind of experience in fiction, to imagine a life so defined by change. But as I worked on the story, I found myself more compelled by the opposite, by someone who utterly lacked the daring and guts to break free of the role he’s expected to play – that of the dutiful and obedient son, the one who sacrifices his own happiness to maintain the familial order."
And so The Brothers, became the story of Edmond, a man who couldn’t even begin to imagine the difficult but ultimately fulfilling life his recently deceased transsexual brother, Eric, had the bravery to live. In this way, Eric isn’t the lonely, isolated, and tragic brother; Edmond is.

The story is adapted by Colman Domingo, who stars in the TV spinoff Fear The Walking Dead. No, he is not Filipino but he says since he grew up in the Bay Area, he has Filipino friends and is familiar with the community.

His website is www.lysleytenorio.com.
The Brother(s) by Colman Domingo  
Adapted from a short story by Lysley Tenorio  
Friday, October 16, 10 p.m.
Sunday, October 18, 12 p.m. & 7 p.m.
A.C.T.'s Costume Shop, 1117 Market Stre
*Tickets are free but reservations are required.
 
***
THE TWO one-act plays presented in ACT's Monstress were Remember the I-Hotel and the title story Monstress - in that order.

The latter is an out-and-out farce that has some funny lines about Daly City and other Bay Area cities, which might play well outside of the Bay Area. Taking place in the 60s and 70s, it is a tale of immigration, of improbable, lofty dreams gone awry, as reality hits the characters.



The storyline is a little forced (farced?) but the cast is excellent. I shouldn't be surprised but I'm continually amazed at all the talent that's in the Asian/American community that is going largely untapped and unnoticed.

The same corps of actors in Monstress play different roles in the opening play,  Remember the I-Hotel.

The I-Hotel has a totally different tone. It is more bitter-sweet, touching and full of irony. It touches on larger societal issues without hectoring the audience.


Vicente (Ogie Zulueta) is comforted
by Fortunado (Jomar Tagatac) in
“Remember The I-Hotel"
As regular readers may recall, the  International Hotel was the last remaining residential hotel in old Manilatown, west of Chinatown. The struggle to keep the low-cost housing for its elderly tenants, mostly Chinese and Filipino men sparked the tenant rights revolution even though the tenants were eventually evicted in the 1970s. This is the setting of Remember the I-Hotel.

At the end of the play, you can almost hear the audience let out their breath after trying to keep their emotions in check. Some couldn't ... and tears were rolling.

I don't know why the director doesn't reverse the order and let Monstress open the couplet of plays and let I-Hotel be the final act. It would be a more powerful thought-provoking evening.

As it is, I left the theater, located on the edge of the new Manilatown, South of Market, happier perhaps, because of the farcical Monstress but still wondering about the fate of the characters in the poignant Remember the I-Hotel.
Monstress, 
A.C.T.'s Strand Theater, 1
27 Market Street, San Francisco
Running time: 2 hours, plus one 15‑minute intermission
For tickets, click here. 

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Wednesday, April 22, 2015

George Takei is everywhere

Hollywood figures urge talent agencies to diversify

George Takei, actor and activist
GEORGE TAKEI is everywhere: He's rehearsing for the Broadway premier of his musical Allegiance; he's stepping in to stop the sale of artwork made by Japanese Americans who were interned during World War II; he's on the Internet in his new reality web series It Takes Two (See video below), and - most recently - he's in speaking up for increased representation of minorities in the movie and television industry.

A media coalition of multi-ethnic Hollywood watchdogs — including the Asian Pacific American Media Coalition, American Indians in Film and Television, NAACP Hollywood Bureau and National Hispanic Media Coalition — is calling on the entertainment world's  talent agencies to meet with the coalition and talk about how to inject more color into their lineups, not less.

“Although the major talent agencies are located in Los Angeles, the most diverse city in the world, they seem largely unaware of the amazing talent that exists in communities right under their noses," said Takei. "They should partner with these coalitions for their mutual benefit: more representation and jobs for Asian American and other actors of color, and more dollars for the agencies.”

The Asian Pacific American Media Coalition (APAMC) has agreements with ABC, CBS, FOX and NBC committing them to work to increase diversity on-screen and behind the camera. APAMC members include such organizations as the Asian American Justice Center, East West Players, Japanese American Citizens League, Media Action Network for Asian Americans, National Federation of Filipino American Associations, OCA, Sikh American Legal Defense and Education Fund, and Visual Communications.

The press conference was partially in reaction to an article in Deadline shortly after the Oscars this year when no person of color was nominated for any of the acting awards #OscarsSoWhite.

The Deadline article, citing anonymous talent agents, raised the question that the apparent increase in acting roles given to actors of color (ie. Fresh Off The Boat, Blackish, Empire, Cristela, Jane the Virgin, etc.) may be too much of a good thing because white actors were allegedly losing jobs because so many productions were seeking actors of color. The article was roundly criticized and Deadline had to issue an apology because, the drop-in-a-bucket increase of acting jobs for actors of color didn't affect the majority of roles which were still overwhelmingly white.

The media coalition's press release says that talent firms remain a major barrier to full inclusion of the nation’s diversity in television and film. According to the 2014 Hollywood Diversity Report by UCLA’s Bunche Center for African American Studies, “minority talent remained underrepresented on every front at the dominant agencies,” as directors, leads, creators, and writers in film and television.

That is a problem, given the “tremendous influence” major talent agencies wield, which continues to “shape the labor market of the film and television industry.” Without representation, especially in the top talent firms, people of color are denied a fair chance at advancing their careers in the entertainment industry.

You can find more episodes of It Takes Two on YouTube.






















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