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Published on: 6/1/2007
Last Visited: 6/1/2007
As a young actor in the early 1990s, David Hsieh racked up a hefty list of stage credits with the Northwest Asian American Theatre (NWAAT).It was good experience for the Chinese American actor, but-as evidenced by titles like Godzilla Comes to Little Tokyo and Yeb-Yang-Ah- the parts he landed were generally limited to characters of Asian descent.Like any actor, Hsieh wanted to branch out and try different kinds of roles, but he often found the process of auditioning in what he called the "real world" frustrating."I wasn't getting to do the shows that I really wanted to work on," he recalled."Certainly, what I look like was a big part of that."
I talked with Hsieh, along with two other actors and a director, about the challenges minority actors face in professional theatre.His frustration was shared by his fellow NWAAT performers, so they pulled together and did something about it.
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"It was a new challenge for us as actors," said Hsieh."We basically did an all-Asian version of this very waspy, 1950s comedy-drama.And we thought, you know, this is pretty cool."
So cool, in fact, that the experience led Hsieh to found the Repertory Actors Theatre, or ReAct, a Seattle-based nonprofit theatre with a thirteen-year track record of fostering diversity through nontraditional casting.Past ReAct efforts reflect the company's philosophy, including multi-ethnic versions of classics like A Chorus Line, Barefoot in the Park, and The Importance of Being Earnest.Hsieh, ReAct's artistic director, casts shows with the continued goal of diversity in mind.He adamantly pointed out, however, that his methods shouldn't be thought of as "colorblind casting," a phrase used to describe casting techniques where race and ethnicity are summarily ignored.
Hsieh maintains that race and ethnicity can't be ignored, which is why you won't see ReAct producing a typical colorblind show where, for instance, Hamlet is black and his mother is white."We take into account that an actor is a person of color to make the play more universal," he noted, "but we also want it to make sense.