Eight
To Circle in the Square Theatre School,
I would like to preface this letter by saying that my goal is not to shame or attack any individual. Circle in the Square Theatre School was largely a welcoming environment with staff and faculty who had only the best intentions for their students. However, their awareness of racism within the school and the method in which they dealt with these issues when brought to their attention were disheartening to say the least. They have been confronted by students on multiple occasions, and continuously throughout the years to virtually no effect. With an almost exclusively White faculty and staff, the limitations of self reflection and active improvement are evident, which is where I hope this public statement may serve as a more immediate call for action.
These are incidents of racism that I have experienced and witnessed while attending Circle in the Square Theatre School. Everyone addressed is anonymous, and I have actively made an effort to refrain from personal opinions and emotions.
During a lesson, a White faculty member instructed our whole class to “loosen our jaws like a Chinese person who doesn’t speak English very well.” They then demonstrated what this looks and sounds like. As they became aware that all students were unwilling to participate, they proceeded to explain that it was excusable because they “had Asian friends” and that they “knew of an Asian-American person who faked an Asian accent for an audition.”
A White faculty member continuously mixed up the names of four Asian students in class for longer than a year. I have also witnessed them confuse the names of two Black students who were in different years. Hurt feelings aside, some of these students questioned if they were receiving the same quality of education as their peers, since the faculty member seemed to have trouble remembering who’s progress was who’s. Once when confronted, the faculty member denied that they had confused the students’ names.
During a lesson, a White faculty member commented that a certain Asian student’s inability to express anger was due to their “culture.” They then proceeded to make statements such as“China is buying all of America’s territory, but one thing they will not be able to take over is America’s culture, America’s expression.” They seemed to imply that an Asian “culture” was something to overcome in order to develop as a better actor. They also knew that this student was not, in fact, Chinese, and yet deemed this opinion of China as an appropriate example. Another instructor who was later informed of this incident agreed that there was some truth to this faculty member’s statement.
In the annual showcase for industry professionals such as agents, managers, casting directors, etc. four Asian students were cast as back dancers in another student’s solo number. No explanation was given about why these four particular students were grouped together. When asked about the reasoning behind this, the question was avoided, and one faculty member joked that it was their “fantasy.” Based on how often they were confused for each other at school, the four students and their classmates were left to question whether this was arranged as an opportunity for the audience to differentiate between the students.
“It is a great time to be a POC right now.”
“Being a minority is ‘in’ these days, and White actors have less opportunities.”
“You probably got a lot of calls because you are a POC.”
but also
“You probably won’t get a lot of calls because you are a POC.”
were all common things that were said quite frequently to POC students by faculty members and White students. Even though they were often intended as encouragement or compliments, these comments grossly minimized any individuality, achievements, personal progress, etc. of POC students while it was more likely to be acknowledged for their White counterparts. Also, although there are visibly more opportunities for POC in theatre in recent years, it is still nowhere close to being equal with opportunities that White artists have, and these comments illustrated an obliviousness to the issues of racism and discrimination still dominating the industry.
In the play readings and children’s shows, that are not part of the curriculum but affiliated with the theatre and organized, produced, directed by Circle faculty or alumni, there is very limited diversity in casting. These productions, that are supposedly opportunities for ALL alumni to perform and hone their skills, are more often than not predominantly cast with White alumni. POC students are disproportionately less likely to be chosen by faculty/alumni.
Again, I would like to reinforce that all the faculty and staff at Circle in the Square Theatre School are respectable and caring. I truly believe that all incidents stated above were not due to anything other than a lack of awareness. They are faculty and staff who are otherwise very vocal about social injustices, who fight inequality, who stay informed and educated about current events, who have conversations about social issues with students, etc. There is so much possibility to grow and evolve on the issue of racism as well. In understanding this, I would like to make these specific demands that I believe may provide some direction:
Hire more POC staff and faculty. Much like how equal representation is important in the media, it is crucial that the students see themselves among educators, feel welcome in the space, are educated by someone who understands their experiences, and can prepare students for the racial nuances and obstacles that exist in the professional world.
Hold mandatory anti-racism education sessions that are held by an expert who is POC, for faculty, staff, and students. It is just as relevant and crucial as the sexual harassment seminars that were newly incorporated into the curriculum this past year.
Hire a POC counsellor, or appoint a POC faculty/staff to be an official mediator of issues regarding racism between the students and faculty/staff. This authority figure will validate and add power to the voices of POC students, so that the responsibility of resolving these issues will not have to fall entirely onto the shoulders of students (who have paid tuition and signed contracts for an acting conservatory, not an activist group.)
Although my positive experiences greatly outnumber the negative while I attended Circle, I have come to understand that this does not mean these incidents of racism and microaggressions are cancelled out, or should go by unaddressed. This current climate of unrest, where our country unites to fight for racial equality, is an opportunity for Circle students to finally be heard as well; there will be no better time for our statements to be as noticed, as effective. This is why I write. Please listen to us. Please reflect. Please grow. Please do not take personal offense, and instead take these criticisms as a “professional” institution, in the same manner as how we students were urged to be “professional” actors at school.
— Anonymous