In this week's blog, our Intern, Max Granitz, ponders the importance of diversity in our profession. This is a subject very dear to Max; it's one of the reasons we were delighted to have him as our Intern, as a respect for all people is a hallmark of the way we conduct ourselves here at GEM Theatrics. We like to take inspiration from the views of Abigail Adams, who was an early supporter of racial equality. One of the most poignant moments in My Dearest Friend by Mary G. Kron is the telling of a true story of the time Abigail faced down neighborhood bigots who sought to deny the right of a free black youth to attend school. "And merely because his face is black," she wrote, "is he to be denied instruction? How is he to be qualified to procure a livelihood?" (My Dearest Friend is available to tour to your school, library, or other venue. Grants are available from the Michigan Humanities Council. Check out our Homepage.)
Here's Max's Blog entry:

One aspect of what ensures that the arts, including theater as well as other types of performance, remain a relevant part of contemporary culture is the tendency for a wide array of identities, experiences, cultures, etc. to be displayed on stage. This is especially true in larger markets, but also applies in collegiate and community theater. And in the case of some productions, such as Hamilton (which has swept up numerous awards and accolades), and a number of recent adaptations of Shakespeare’s works, experiences of real-life persons are changed to reflect present-day issues.
 
Therefore, if one wishes to be a participant in the performing arts, there is not really any room for reactionary ideologies or bias. Of course, everyone, whether they admit to it or not, possesses some level of existing biases. But in a setting where diversity is not only celebrated but critical to the survival of an art form, for someone involved in a production to express opinions which might disparage or even dehumanize a given group of people, or a single person holding a specific identity, is not only dangerous, but halts any progress of a production.
 
That is not to say that shows couldn’t be better about representing a wider range of experiences. Yes, Hamilton continues to bring in high amounts of revenue, and shows such as Falsettos and Angels in America which portray LGBT persons were recently revived. But the institution of theater (and all art forms really) needs to make a significant effort to create space for diversity, and make a point to not just celebrate it, but prioritize it.
 
I am just one person given a platform by GEM Theatrics. But I have seen firsthand what disrespecting diversity can lead to in the context of the performing arts. Talent should come first when selecting a cast for a production. And yet for a person, who shall remain nameless, to admit to subscribing to a specific ideology which considers diversity to be damaging to society, to audition for a show that was incredibly controversial for its willingness to call out such persons, should not even be considered, and in this case was rightfully not cast.
 
If you strive to be professional, as a participant of the arts, not only must you respect diversity, you must be an advocate for it.

In today's post, our Intern, Max Granitz, ponders the imponderables of casting and performance. Enjoy!

by Max Granitz
One aspect of the beauty of the arts is their ability to invoke strong feeling in those witnessing them. They serve as a reflection of who we are, what our societies value, what we as individuals value. They make us want to be better people. And this is, in part, due to strong performers who are able to create those strong emotions in their audience. A performer must show that what they are doing, be it singing, acting, dancing, playing an instrument, or any other type of performance, means something to them.
 
When a performer begins to prepare for a performance, they need to understand that some pieces just are too far away from themselves for them to connect to it effectively, and believably. The nature of performance is a universal feeling of closeness, and yet some differences between intended performer as designated by a playwright or songwriter, and a performer hoping to do the piece in question, just cause dissonance. For example, some pieces are written for someone of a particular race or age, and changing this would only make an audience uncomfortable. Of course, it all depends on the performer and the context.
 
The monologue or scene or song that you have selected, be it for an audition, for a showcase, or some other context, should show the audience (whoever they may be) the core of who you are as a person… what drives you in life. You are metaphorically stripping down and being brutally honest about the person who is there. Putting on airs or trying to be someone/something you are not will only turn an audience off from whatever it is you are doing. And be respectful of others.
 
Fear won’t get you anywhere. Doubt won’t either. Be willing to bare yourself to the world at large.
 
You aren’t the only one trying to find an emotional connection with what it is you are doing, struggling perhaps. Plenty of others in the same field as you are going through the exact same thing. And maybe you can’t hit a C6 or interpret Greek drama. But if you make just one person feel something, you will have done your job well.

While we here at GEM Theatrics think we put on the best shows available anywhere, we grudgingly admit that there are other organizations that provide mighty fine theatre entertainment. One of those is the annual Grand Valley Shakespeare Festival, now in its 24th year! The Festival is close to Gary's heart, as he has three times performed there as a guest artist, most recently in last year's production of "Measure For Measure" where he met our Intern, Max Granitz. This year's production is "The Tempest". Good seats are still available for performances October 5 - 8 and are available at the Louis Armstrong Theatre Box Office (616-331-2300) or online at: www.starticketsplus.com
Here is Max's review of the show:

Grand Valley’s Tempest Soars
By Max Granitz

This weekend, I had the pleasure of attending the opening night performance of Grand Valley State University’s production of William Shakespeare’s The Tempest. I had read the play in an English course in the spring semester of my sophomore year, which focuses on Shakespeare’s works and how they relate to contemporary issues.
 
While some minor changes were made to the text, mostly replacing some words with their modern equivalents and cutting some portions for the sake of time, it was, at its core, quintessentially Shakespeare. Both the guest actors and the students were wonderful in their performances. Interestingly, a handful of roles typically played by men were recast and established as female. This made the play seem more relevant, given two of these roles are villains (Sebastian and Antonio, rewritten as Sebastiana and Antonia), in that women in power undergo constant criticism, more so than their male counterparts.
 
A noticeable difference between text and performance was the sorcerer Prospero’s characterization. The character did not come across as fierce and commanding as in other iterations of the play. I was told by a theatre major not in the production that this was done to avoid any controversy regarding recent discussions of colonialism. Additionally, the character of Caliban was noticeably more human, in that it was a bit easier to sympathize with him as an audience member. Overall, the production was a success based off audience reactions as the theatre let out, and the cast members each shone in their own ways.
 
The Tempest continues through Sunday, October 8.