Winnipeg theatre companies' diversity promises followed by mixed results
Some companies are still pushing back against diversity promises, artists say
Two years after Manitoba's theatre industry made promises to increase the diversity of people working in the industry, local artists say they're not seeing changes from all companies.
"I feel like it's 50/50," said Winnipeg actor Karam Daoud, who was born in Morocco and now lives in Winnipeg.
"Some people are hearing these things, listening and self-reflecting ... [and asking] 'what can we do better?' while others are like ... 'Whoa! Are you saying I'm racist?'"
The Royal Manitoba Theatre Centre (RMTC) was one of the companies that released its commitment to action plan, which listed its intentions to expand its commitments to equity, diversity and inclusivity.
As part of that plan, in the fall of 2020, the Royal MTC conducted an organizational audit which found 60 per cent of racialized staff did not feel comfortable raising concerns about racism.
"It's not hard to see that there needs to be more systemic change in in our theatre," said artistic director Kelly Thornton.
"It's a transformational long game. It doesn't happen overnight. But you have to start putting things into process now."
Daoud says that's "a little sad to hear."
"It feels like an excuse almost to say that it's going to take a long time."
Other theatre companies in Winnipeg continue to make changes.
When Rainbow Stage released its initial anti-racism statement, the theatre said it needed to "tread carefully," as diverse works may not resonate with patrons. That statement was received with anger from the theatre community.
Rainbow Stage's artistic director Carson Nattrass says it was difficult to hear the response.
"In our statement, we failed to recognize past and present racist behaviour," Rainbow Stage said in a written apology to the theatre community.
"The words we chose were hurtful."
Nattrass says because of its initial statement, the company was presented a learning opportunity.
"[It] brought in one of the most beautiful things that has happened for us — a community-led conversation" to address diversity, he said.
In addition to diversifying its board of directors, Rainbow Stage made moves to identify barriers keeping people from the industry, and working to remove them.
Nattrass says Rainbow Stage realized the audition process was a barrier. As a result, the company took a new approach to casting its production of The Hockey Sweater: A Musical.
"We went to seven schools and community centres in the city and three in the province in order to introduce [kids] to Rainbow Stage," Nattrass said.
With a production like The Hockey Sweater, Rainbow Stage realized even having a pair of skates and a helmet to bring to an audition may be a barrier. So the theatre collected donations of almost 30 pairs of in-line skates and helmets to provide to families for the audition.
Nattrass says because of that active outreach, audiences can expect half the artists being featured in Rainbow Stage's upcoming season to be new faces.
Anna-Laure Koop, artistic associate with Théâtre Cercle Molière, says reaching out to different communities and creating one-on-one dialogue with artists has an impact. That's been a foundation of the theatre for a long time, and it has seen success with reaching out to artists, she said.
"Sometimes it's literally meeting somebody at a show and chatting, and seeing if anybody is interested in developing anything that they want to pursue [at Cercle Molière]."
Concerns about sales
Kara Joseph is an independent artist, but she's also the training programs manager at Creative Manitoba. She said she still sees access barriers for racialized artists in the industry.
Now that Manitoba can move back to in-person shows, she feels theatres are shifting back to asking themselves which shows will sell more tickets instead of which shows are important to Manitoba.
"There have been a few companies that I would love to audition for. But when I saw the shows that they announced, I thought ... they're not asking for [people like] me, so I won't."
Joseph, who identifies as a Black artist, says she wants to be able to tell all kinds of stories.
"I'm not just meant to tell stories of the trauma of my race. I want to tell stories of joy. I want to tell stories of love and song. I think that's the thing that we're missing right now."
Thornton says the Royal MTC features many new and diverse faces. However, most of them are hired from outside Manitoba.
She says she's had to search elsewhere for diversity due to the lack of racialized artists talented enough to carry the roles needed at RMTC. This includes the cast of the theatre's current production of Calpurnia, which features many artists from Toronto.
"That's when you have to start to look in other parts of the country," she said.
When other companies and artists were asked if Manitoba lacked talent, they had another opinion.
"Incorrect," said Nattrass.
"I think it's there," said Koop. "There just needs to be a curiosity to pursue and to be vigilant, to go looking and to be open to various opportunities."
"I mean, spend one day at Winnipeg Fringe. Go to Folk Fest. Go to walk around the Exchange District and see what people are creating," she said.
"It's everywhere. It is so ingrained in everything that this province is. I don't know how you could miss it."
As part of its commitment to action, RMTC has committed to providing residencies and mentorship programs to invest in Manitoba artists, such as the Pimootayowin Creators Circle, intended to support the creation and development of new plays by Manitoba-based Indigenous artists.
Thornton says the long game is "to have a community of local actors that can populate our stages."
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