An International Symposium: Performing China on the Global Stage, 26 and 27 March, 2013, University of Leeds

University of Leeds students perform 'The Sun is Not for Us', China 2012

University of Leeds students perform ‘The Sun is Not for Us’, China 2012

For anyone interested in Chinese theatre, including the controversial The Orphan of Zhao at the RSC, check out this two day symposium at the University of Leeds organised by Dr Li Ruru. It promises to be a stimulating and fun. The second half of my Orphan review is still pending…. Watch this space… Read the first part here.

Performing China on the Global Stage: People, Society and Culture
寰球舞台演出中国:人、社会与文化
An International Symposium 26 & 27 March 2013
University of Leeds

‘Performing China on the Global Stage’, a practice –led research network with its hub in Leeds, announces a two-day international symposium on 26 and 27 March 2013.
The symposium will include both conventional research seminars and public events of workshops and interactive presentations. Scholars and practitioners attending the symposium are from mainland China, Hong Kong, Taiwan, Japan, Australia, North America, the UK and other European countries.

SCHEDULE
26 March 2013

Session 1 9.00-13.00 including refreshment break
Discussion among contributors of the proposed book (Chinese) led by Professor Hu Zhiyi (Zhejiang University): Chinese Image: An intercultural Study of ‘The Orphan of Zhao’.

Session 2(parallel to session three) 14.00-18.00 including refreshment break
Discussion among the contributors of the edited book (English) led by Dr. Li Ruru (University of Leeds): Spoken Drama Productions in the Millennium: Theatrical Encounter with Politics, Society and Culture.

Session 3 (parallel to session two) 14.00-16.00
Much Ado About Nothing – a workshop led by Zoë Waterman, Assistant Director from the Royal Shakespeare Company UK. (Maximum participants 30). An exciting opportunity to explore this Shakespearian comedy, using classical British rehearsal room techniques to get inside character, language and storyline.

Session 4 17.00-19.00
Energy: Essence of Chinese Theatre – a workshop led by Director Tian Qinxin from the National Theatre Company of China. (Maximum participants 20). Focusing on eyes and the physicality of human beings, the workshop explores the function of energy in creativity and in reactions between performers in the Chinese style.

27 March 2013
Session 1 (parallel to session two) 9.00-10.00
Closed meeting of contributors for edited book (Chinese) to agree on the extension of the detailed outlines into chapters, and time line.

Session 2 (parallel to session one) 9.00-10.00
Closed meeting of contributors for edited book (English) to agree on the extension of the detailed outlines into chapters, and time line.

10-10.30 refreshment break

Session 3 10.30-12:00
Open panel for network partners to discuss how to take forward the project currently called Performing China on the Global Stage, including the electronic stage production repository, PG network, future live performances.

Session 4 13.00-18.00 (open to general public including refreshments)
Staging China, an interactive presentation by theatre professionals and researchers.
Part one: The Orphan of Zhao: from 5BC China to 21st century Stratford-upon-Avon
Stage productions of The Orphan include a wide range of forms: Chinese spoken drama, Chinese regional opera, Chinese Western-style opera, and the current English production by the Royal Shakespeare Company. These works will offer evidence and study cases for the examination of intra/inter/cross-culturalism, challenging the existing models and methodologies.
Part two: Contemporary Western Representations of China
Productions by the West Yorkshire Playhouse, University of Leeds, Border Crossings, University of Hawai’i at Manoa, National Theatre of Scotland and of the play Chinglish will be presented and discussed.

An exhibition of images and video in the venue foyer will provide a virtual theatre experience via over a dozen stage productions.

Supported by:

Cultural & Creative Industries Exchange, University of Leeds

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Booking Form: Workshops on 26 March (no fee)
Email: s.m.daniels@leeds.ac.uk
YOUR NAME
TELEPHONE NUMBER
Would like to attend
2-4pm Workshop 1 (RSC) 5-7pm Workshop 2 (NTCC)
Please wear comfortable clothing and soft-soled shoes for the workshops.
Places are limited and need to be booked in advance.

Book Form: Open Sessions 27 March
Email: stage@leeds.ac.uk or telephone: 0113 343 8730
YOUR NAME
TELEPHONE NUMBER
Would like to attend the Open Sessions from 10.30 at a cost of £12 (£6 Concessions) including lunch.

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A World Elsewhere: The Orphan of Zhao at the RSC Review Part 1

Jake Fairbrother as Cheng Bo and Philip Whitchurch as Wei Jiang in The Orphan of Zhao.  Photo by Kwame Lestrade. (c)

Jake Fairbrother (Cheng Bo) and Philip Whitchurch (Wei Jiang)  The Orphan of Zhao RSC. Photo by Kwame Lestrade (c)

The Orphan of Zhao adapted from the Chinese by James Fenton and directed by Gregory Doran, The Swan Theatre, RSC, Stratford-on-Avon, 3rd January 2013.

The Asian Performing Arts Forum opened their roundtable discussion on Interculturalism, universality and the right to representation in the RSC’s The Orphan of Zhao with the following quotation from Rustom Bharucha:

“Unavoidably, the production raises the question of ethics, not just the ethics of representation, which concerns the decontextualisation of an epic from its history and culture, but the ethics of interacting with people … in the process of creating the work itself. … It is at the level of interactions that the human dimensions of interculturalism are, at once, most potent and problematic.”   Theatre and the WorldPerformance and the Politics of Culture ( 1993) p.84.

The quotation in context refers to Peter Brook’s Mahabharata but can, I think, be usefully applied to the RSC’s The Orphan of Zhao.  Interculturalism is a sticky issue, caught somewhere between liberal diversity politics and post-colonial reclamation of identities and narratives, as seen in the polarised responses to Brook’s and, more recently, Gregory Doran’s forays into appropriating non-western world literature for western consumption. Minority groups rightly feel aggrieved at under-representation or misrepresentation.  The companies accused of insensitivity in casting when they have produced a previously unperformed ‘non-western’ play on a mainstream western stage may well feel that they are unfairly singled out: identifying themselves as liberal and open to diversity, they wonder how they have ended up labelled as the neo-imperialists?

I’m going to confess that I was entertained and frustrated by this production in equal measures, and I hope that I can write of it here with some generosity, despite my very serious reservations…  Thus, for my response to The Orphan of Zhao I propose to take as my starting place the interactions that are the ‘human’ dimension of intercultural performance through all that was ‘most potent’ and ‘most problematic’ for me in Doran’s production at the Swan Theatre.

Part 1: The Orphan of Zhao: All That Is Potent 

Jake Fairbrother rehearses as the Orphan of Zhao. (c) Kwame Lestrade

Jake Fairbrother rehearses as the Orphan of Zhao. (c) Kwame Lestrade

The Shakespeare connection for this play in the RSC’s A World Elsewhere season is the claim that it is the ‘Chinese Hamlet’.  After all, anything ‘foreign’, it seems, must be made comprehensible through something we are familiar with already, even though that comparison may distort it completely.  This is a paradox that Shakespeare plays with in Antony and Cleopatra.  When Antony returns to Rome from the ‘exotic’ East, his drinking buddy and fellow triumvirate, Lepidus, asks him what a crocodile looks like. His answer, although true, is useless as a meaningful description:  ‘It is shaped, sir, like itself; and it is as broad/ as it hath breadth: it is just so high as it is,/ and moves with its own organs’ (Act 2, Scene 7) However, although The Orphan of Zhao is not actually very like Shakespeare’s tragedy, other than its central protagonist needing to avenge his father’s murder by an uncle-figure, it does bare some parallels with the ‘original’ Hamlet story from Saxo Grammaticus’ Deeds of the Danes, in which a very young Viking prince, Amleth, must live in his fratricidal uncle’s household until he reaches manhood.  At this point, as a dutiful orphaned son, Amleth kills him. Likewise, the Zhao Orphan, whose father is a court minister, and whose mother is the Emperor’s daughter, must also grow up to enact his revenge when his father and his clan are wiped out by a jealous rival minister, Tu’an Gu.  In both the tale of Viking Blood Revenge and the musical drama of Chinese filial piety, the call to vengeance is never questioned.  The tension lies in whether or not the boys will manage to survive into adulthood to fulfil their duty. Coincidentally, the first extant version of Orphan, by the Yuan dynasty’s Ji Junxiang (紀君祥), was written at about the same time as Deeds.

James Fenton’s adaptation succeeded in making a potentially confusing tale of corruption at court, babies switched at birth, the slaughter of infants, a mad woman locked away in a hidden palace, and divided filial loyalties, flow with a simple clarity.  I didn’t notice that much poetry in the translation, but I never lost track of the plot or themes, and the songs were simple yet compelling.  One of the central conceits is that the family doctor switches his own baby son to protect the prince. To prevent the Herod-like murder of all boy-children under the age of two, he must reveal the whereabouts of this supposed Orphan of Zhao. The doctor’s baby then has his little neck broken on stage in front of his father by the murderous Tu’an Gu, who believes it to be the orphan of Zhao.  Tu’an Gu, as a reward for [the doctor’s] ‘good’ deed, decides to adopt his son, unaware that he is the orphan’ (Programme, 2012: 22).

The Swan Theatre is my favourite space at the RSC, because it is so small that the action is close and clear even when I am in the ‘cheap’ front-row second gallery seats (still very pricey at £22 for non-concessions). The Orphan of Zhao worked well in that relatively intimate thrust-stage environment, as the actors happily hammed up ‘speaking to the audience’ and ‘introducing their roles’, presumably in reference to various Chinese opera traditions.

Nia Gwynne as Dr Cheng Ying's Wife and Graham Turner as Doctor Cheng Ying in The Orphan of Zhao.  Photo by Kwame Lestrade.

Nia Gwynne (Dr Cheng Ying’s Wife) and Graham Turner (Doctor Cheng Ying) The Orphan of Zhao RSC Photo by Kwame Lestrade (c)

Yet these were fine performances.  This was the only production in the World Elsewhere trilogy to cast two ethnic minority actors in protagonist roles, the hero and the villain, proving that a major British classical theatre company risks no threat to their artistic reputation by foregrounding talent from a broader spectrum than is the norm. Joe Dixon, who I had previously seen at the RSC as Aaron in Titus Andronicus, was a deliciously roguish Tu’an Gu.  As for Jake Fairbrother as the grown-up orphan, Cheng Bo, I couldn’t help but think that he had been cast in part, at least, because of his uncanny resemblance to a young Yul Brynner… Like my daughter, labelled ‘ethnically ambiguous’, the director clearly felt that Jake, too, had a face that could represent anywhere.  Cheng Bo’s childlike energy and innocence was delightful and all too fragile in the face of his task when, suddenly discovering his true identity as he reached adulthood, he found himself bound to execute the man he had loved as a father.  This was one of the productions strengths: it did not shy away from the ambivalences of the plot.  Nia Gwynne was simply heartbreaking as the doctor’s wife, lamenting the sacrifice of her precious child because of some supposed ‘greater good’ before falling into despair and disappearing.  This scene was made even more potent because, as the fate of the two babies was debated by the doctor and his wife, the baby dolls were ‘voiced’ by adult actors kneeling on either side of the stage.  Chris Lew Kum Hoi, who would later return as the ghost of the doctor’s son was one of them, his cooing and gurgling in stark contrast to the adult body that would be denied him.  Unfortunately, the implications of this scene were not fully realised as instead of having Fairbrother produce the sounds of his infant self, this was voiced by another actor.

Graham Turner as Dr Cheng Ying and Chris Lew Kum Hoi as the Ghost of the Son in The Orphan of Zhao.  Photo by Kwame Lestrade.

Graham Turner (Dr Cheng Ying) and Chris Lew Kum Hoi (the Ghost of the Son)  The Orphan of Zhao RSC. Photo by Kwame Lestrade (c)

Lots of old white men played old Chinese Mandarins, but with sagacity and grace.  Susan Momoko Hingley, an Anglo-Japanese actor, did a sprightly turn as the soon-to-be decapitated maid, and Chris Lew Kum Hoi stunned us all as he returned as the ghost of the doctor’s son in the final five minutes.  In a pair of scenes that echoed each other, the Orphan and the ghost confronted the men they saw as their fathers.  Cheng Bo offered Tu’an Gu the same option of ‘suicide’ as Tu’an Gu had offered his real father.  Unable to take his own life, Tu’an Gu begged his adopted son to kill him if he had ever loved him. Thus this ‘patricide’ became, not simply a moment of revenge, but also a brief moment of possible forgiveness.  In contrast, the old doctor, confronted by the son he had sacrificed in a graveyard, found he must kill himself to appease the child he had abandoned.

It was a beautiful production, too.  Whenever somebody died, blood-red petals fell from the rafters.  A latticed moongate and red silk lanterns evoked Old China throughout: the Swan Theatre had transformed overnight from pre-Revolutionary Russia (Boris Godunov) to a pretty good impression of The Lao She Teahouse in Beijing. In traditional Chinese theatre, scenery is minimal and non-representative. The RSC had done some research: a week in China for the director and designer, plus artistic advice and workshops on Chinese stage conventions ‘back home’ led by Leeds University academic and director, Dr. Li Ruru, author of Shashibiya: Staging Shakespeare on the Chinese Stage and The Soul of Beijing Opera. Her introduction in the programme to the evolution of The Orphan of Zhao’s stage history, both in the East and in the West, is illuminating. Tian Yuan Tan of SOAS also adds credibility with his article on dysfunctional dynasties.  Full colour spreads of Terracotta Warriors, Spirit Ways, Pagodas and Dragons all make clear that we should not expect a hybrid or an anglicised production: this is the RSC introducing the British public to Chinese Theatre.  The delicate watercolour designs by Niki Turner shimmered into life in a production awash with coloured silks and shining spears.  Authenticity seemed to be the order of the day, from the Emperor’s imperial yellow robes and pointy black beard, to a wise old Mandarin physically prostrating himself in front of the spoilt monarch (who had been practising his archery skills on his subjects for fun) as he desperately tried to make him see reason.

Ay, there’s the rub. With so much emphasis in getting the set, the costumes and even (some) of the movements to be ‘Chinese’, wasn’t there something missing? Ah yes…

Part 2: The Orphan of Zhao: All That Is Problematic Posting shortly

Related posts: Madam Miaow Makes Mincemeat of RSC over Non-Chinese-Casting

The Yellowface Debate Continues: Orphan of Zhao Roundtable

The Yellowface Debate: Orphan of Zhao Roundtable and comments on Western Opera casting practices

Roundtable discussion: Interculturalism, universality and the right to representation in the RSC’s The Orphan of Zhao. Friday 23rd November, 3-5pm, Centre for Creative Collaboration, Acton Street, London.
Speakers: Dr. Broderick Chow, Brunel University, Dr. Amanda Rogers, Swansea University, Dr. Ashley Thorpe, University of Reading (chair), Daniel York, Actor, writer, director and Vice Chair of Equity Minority Ethnic Members Committee.*
(c) RSC

(c) RSC

Following on from my Orphan of Zhao post on ‘yellowface’ and colourblind casting, I attended the above roundtable last November hosted by the Asian Performing Arts Forum.  But, well, what with teaching, marking, looking after my young family, article writing, PhD and Christmas, I still haven’t written up my notes from it.  So, luckily for me, panellist Dr Amanda Rogers (University of Swansea) has done a sterling job at addressing the issues in a series of posts on her blog Theatrical Geographies, and Anna Chen/MadamMiaow recorded the whole event and put it on Youtube.  Thanking them both, I’m shamelessly reblogging! Click the link here:

Orphan of Zhao update and roundtable.

My own review of the production, and the aspects I found both most potent (there was much that was potent and beautiful) and most problematic (there was much that was problematic), will be coming soon.
After my initial post on The Orphan of Zhao, my friend Rosie Carlton-Willis commented on my post to let me know about the situation in the world of Western Opera, which, frankly, makes the RSC look like pioneers of diversity in comparison, and which also illustrates just how far this debate extends.  My students will also cite the sci-fi movie Cloud Altlas.  I’m copying part of Rosie’s comment here:

The weekend (15-16 December) was interesting. After some intense conversation on the use of blackface in opera, media responses to this phenomenon and related issues, I went to the cinema to see a production of Verdi’s ‘Aida’, beamed live from the Metropolitan Opera House, New York. Wonderful singing, but of course, in an opera which does not have a single white character, there was not a single black artist in a principal role, and the two Ethiopian characters, Aida and her father, were in dark makeup, to differentiate them from the Egyptian characters.

I looked on the Met’s website to see their casting for this season. In a season of 29 full scale opera productions (including an ‘Otello’ – yes, white tenor in blackface), there are maybe 5 people of colour named in principal roles on the website. One African American artist, one East Asian and a small handful who would maybe identify as Latino/Hispanic. Does this represent the balance of available talent? I doubt it.

I’ve tended to think that for achieving racial justice in the opera industry (some way to go yet…) so-called ‘colourblind casting’ would usually be the best option – casting solely on voice-type and ability, not necessarily relating the race of the character to the race of the performer. But this is not what I’m seeing at the Met this season: instead, what I’m seeing is an overwhelming bias towards hiring white performers in all roles. Is there one solution for the opera industry? Does a more just state of affairs involve hiring only black artists for ‘Aida’ and East Asian artists for ‘Madama Butterfly’ and ‘Turandot’ and by extension, only white artists for ‘Der Rosenkavalier’ and the ‘Ring Cycle’? That looks something like justice but seems restrictive to me, given that a dramatic tenor, say, may be equally well suited to Otello, Radames, Siegfried and other roles, and should not be restricted to a smaller number on account of race. But the current situation is outrageous. Is it time white artists started turning down roles like Aida? Singers and scholars, I’d welcome your thoughts. By Rosie Carlton-Willis

Carol Chillington Rutter’s chapter ‘Shadowing Cleopatra’ in her book Enter the Body: Representations of Women on the Shakespeare Stage challenges us to stop and think about the extent to which we accept without questioning traditional casting practices – and looks at the tendency of liberals to defend or justify these practices.

* Amanda mentions that none of the RSC team who were invited to the roundtable came, but for the record I would like to note that my friend Dr. Li Ruru was touring China at the time with a group of Leeds University student actors performing Cao Yu’s The Sun is Not for Us.  Ruru and I may take different positions on the casting of the RSC production, but she works tirelessly to promote Chinese theatre in British academia and beyond.

Madam Miaow makes mincemeat of the RSC over non-Chinese casting

(c) RSC

I have to admit to feeling just a little bit sorry for Greg Doran, appointed new artistic director of the Royal Shakespeare Company and actual director of its upcoming World Elsewhere season.  After all, who wants to be made into cat’s mincemeat by the magnificent Madam Miaow?  Madam Miaow, aka steampunk poet and Chinese cultural activist Anna Chen, is leading the campaign to ‘out’ Doran and the RSC as culturally insensitive (at best) or institutionally racist (at worst) after they cast predominantly non-Chinese as leading roles in the classical Chinese play The Orphan of Zhao, by Ji Junxiang (紀君祥). To add insult to injury, the poster only mentions the name of its adaptor, James Fenton.  Furthermore, the three Chinese cast members play ‘two dogs and a maid’… Admittedly, the maid is a fairly main part and the dogs are talented puppeteers, but in all the RSC’s research did they not realise the cultural significance of equating Chinese with dogs? So ok, the infamous ‘No dogs or Chinese’ sign over the gates of Huangpu Park in foreign controlled 1920s Shanghai may be an urban myth: what the notice actually stated was ‘no dogs or bicyles’ – oh yes, and that the park was for ‘foreigners’ only. But surely, in a series that also contains a German and a Russian classic, Brecht’s Life of Galileo and Pushkin’s Boris Godunov, the RSC could have stretched to a third of the cast being British East Asian, at least.  Madam Miao’s campaign has not only hit The Guardian, it is rapidly going global, now taken up by the AAPAC (Asian American Performers Action Coalition), who are calling for a US campaign to resist the RSC bringing ‘their practice of exclusion’ with them when they take two family productions, Matilda and the young people’s King Lear, to New York.

Spot the ‘ethnically ambiguous’ BEA. Yellow Academy Summer School, 2012 (c) Yellow Earth

Now, I have to confess that on one level my interest in this story is personal.  Not only did I live in China for five years, but my daughter, currently doing A-levels, is hoping to go to drama school.  One day she suddenly said, unprompted by anything I had said, ‘What’s the point of me doing drama? Even if I get into drama school, I’ll only ever get a chance to play waitresses or a Thai prostitute! I mean, you never see East Asians on telly – I could never do Shakespeare or a costume drama!’ My daughter is half South East Asian (Lao, not Thai, but most people don’t know the difference).  Alarmed by her defeatism, I passed on to her an advert for a youth drama summer school run by the BEA theatre troupe Yellow Earth.  She successfully auditioned and spent 2 weeks last summer at the Yellow Academy.  Out of the sixteen participants, she was the only one of non-Chinese descent.  Initially, she was a little disappointed by this: clearly she was marginalised within the marginalised, but then a casting director came to talk to this eager group of young wannabes.  This man was sympathetic to issues around casting faced by BEAs.  Unless there is a real cultural shift, their only likelihood of getting work is still by playing waiters.  Then he looked at my daughter: ‘You’re lucky though.  You’re ethnically ambiguous.  You could play any type of Asian.  In fact, I could even cast you as Romanian!’ Mmm, so her future holds being represented as a Thai prostitute or a trafficked Eastern European… Of course, things are changing.  A young actor at the China in Britain: Myths and Realities: Theatre/Performance and Music conference held at the University of Westminster earlier this year bitterly noted that BEAs could get major TV  roles – in SciFi.  Afterall, since Star Trek, there’s always been a geeky or a sexy (or a geeky, sexy) Chinese or Japanese in  any self respecting team of alien fighters.

At China in Britain, BEA theatre stalwarts, the actor David Yip (best known for his role as The Chinese Detective in the ’80s), actor/writer Lucy Sheen, and David Lee-Jones, who was recently the first BEA to play a Shakespearean king in the UK, pointed out that it was not only the fault of casting directors if they failed to cast Chinese actors.  They needed to have Chinese actors to cast.  If Chinese parents don’t value their children participating in the arts, then where is this new generation of Chinese actors going to come from, Yip asked.  Interestingly, both he and Lee-Jones are dual heritage and Sheen is adopted: as was the case with the majority of participants at the Yellow Academy. The change has to come from within the community, Yip argued, as it did in the Asian and Afro-Caribbean communities.  (For US readers, ‘Asian’ in the UK tends to refer to Indian, Pakistani and Bangladeshi, East Asian to Chinese and Japanese)

However, if our national theatres, arts funding bodies, and government (through funding said theatres and bodies) don’t actively participate in ensuring that all sectors of British society are represented on our stages and our screens, aren’t they indeed perpetuating the marginalisation of certain groups in the arts?  Yellow Academy has had its British Arts Council funding reduced so that now it only covers the teaching. As there was no funding for travel and accommodation, it’s not surprising that nearly all the participants came from the South East.

(c) RSC rehearsal photo for 'The Orphan of Zhao'Let’s get back to the RSC.  Why is it a problem that the cast of The Orphan of Zhao is predominantly non-Chinese? The RSC have been making efforts to be less, how shall I put it, white-washed. The current production of Much Ado About Nothing, directed by Iqbal Khan and starring Meera Syal and Paul Bhattacharjee, is selling out in the West End.  Deborah Shaw was behind the World Shakespeare Festival, and she and her husband’s Iraqi Theatre Company’s Romeo and Juliet in Baghdad literally shook the RSC audiences out of their comfort zone last spring.  And Greg Doran’s civil partner, Anthony Sher, returned to his native South Africa, bringing back a multi-cultural production of The Tempest which was both a post-colonial critique and a cautious celebration of the new South Africa.  However, the RSC’s following argument is deeply problematic:

We intend to present The Orphan of Zhao in our own way, just as a theatre company in China might explore Shakespeare.  Having absorbed something of Chinese conventions and dramatic idioms, we want to approach the play with a diverse cast and develop our own ways of telling this ancient story and thus explore its universality. (Follow this thread on their facebook page, too)

Firstly, the phrase ‘our own way’ is (unintentionally, I believe) culturally imperialist. What do they mean by ‘our’? And who is the oppositional ‘their’? BEAs? Secondly, a Chinese company presenting Shakespeare’s characters as Chinese is about appropriation, and, until very recently, about subaltern appropriation: Caliban getting the island.  When Lin Zhaohua presented Hamlet as a contemporary urban Chinese youth back in late 1989, early 1990, he wasn’t aiming for ‘universality’, a concept which was exploded by cultural critics decades ago.  Nor was he bowing at the feet of a great Briton. He was rejecting a Soviet model that presented Shakespeare as depoliticized foreign theatre, and instead usurping Shakespeare’s tragedy for his own dissenting purposes (see Li Ruru, Shashabiya). Thirdly, although Doran’s cast is multicultural(ish), it’s still not enough precisely because Chinese and East Asians are so invisible in the British media and arts in the first place.

(c) RSC. Would this production be less controversial if they hadn’t gone for these beautiful ‘Chinois’ costumes?

I opened this piece by saying that I felt a little sorry for Greg Doran.  He’s not a racist – but he is blinkered, and he does have a tendency to say some very odd things (much to Madam Miaow and her readers’ delight).  A few years ago I challenged him about the lack of diversity in RSC casting during a Q&A at the British Shakespeare Association’s Global/Local Shakespeare conference, convened by Sonia Massai, who edited Worldwide Shakespeares.  He acknowledged that the RSC needed to be more inclusive, and this season is part of that acknowledgement.  He also said that he would never not cast anybody because of their race.  All roles are open to all actors whatever their ethnicity, so long as ‘it won’t confuse the audience. I wouldn’t cast different races within one family, for example.’ Pardon?! I pointed out that many people in the audience, including myself, came from families comprised of different races! ‘Oh, um…’ he began.

But do you know what, deep down I’m glad that Doran got it wrong, and that Madam Miaow noticed. Why? Because by the time my daughter graduates from drama school, if indeed that is what she decides to do, she might get to play Shakespeare’s queens, or Helena, or even her namesake, Imogen.

And I will try to catch all three productions in a World Elsewhere.