Understanding Andrew Lloyd Webber's Casting Choices: A Historical Analysis

While specific quantitative data on the number of BIPOC (Black, Indigenous, and People of Color) cast in Andrew Lloyd Webber's shows is not readily available, we can explore his historical casting choices and the overall trend throughout his prolific career.

The Role of BIPOC in Andrew Lloyd Webber's Shows

Since its premiere in 1986, Andrew Lloyd Webber's Phantom of the Opera has featured a diverse range of actors in various roles, both on and off stage. One notable example is Robert Guillaume, who took over the role of the Phantom in the Los Angeles production following Michael Crawford's departure in 1990. However, BIPOC actors are not always in the main cast, as evidenced by the majority of roles traditionally being played by Caucasians or performers with cultural backgrounds more in line with the historical period of the show.

Acknowledging Discomfort with Terminology

It is important to acknowledge that the term "BIPOC" may evoke discomfort for some, as the term has been associated with racism and hate. The term is intended to be inclusive but, as some argue, it can be misleading and counterproductive. Rather than focus on divisive terminology, let us consider how representation and diversity have evolved in Webber's works.

Challenges in Quantifying Diversity in Musical Casts

Attempting to provide an exact number of BIPOC cast in Andrew Lloyd Webber's shows is nearly impossible due to the sheer scale and number of productions. Historically, most of Lloyd Webber's musicals have been set in earlier times, making color-blind casting less likely. Examples include Phantom of the Opera, Evita, and Starlight Express, which were set in historical contexts and have predominantly used Caucasian performers.

However, there have been notable exceptions. Starlight Express did feature BIPOC performers in its original West End production, and more recent productions of Jesus Christ Superstar have included POC (People of Color) in key roles. These instances highlight that progress has been made, albeit gradually, towards greater diversity.

Personal Observations and Trends

From a personal standpoint, my experience of watching Phantom of the Opera on Broadway for the third or fourth time in recent years saw only one or two BIPOC individuals in the chorus. This observation, while limited in scope, suggests that the representation of BIPOC has remained relatively low in the main cast and chorus. This is particularly notable considering the large number of roles and supporting positions in the production.

Conclusion

While the question of how many BIPOC have been cast in Andrew Lloyd Webber's shows is complex and multifaceted, it is clear that there is room for improvement. Recent productions and trends show a slight increase in diversity but, overall, the representation remains limited. The journey towards more inclusive and representative casting is an ongoing process, and it is essential for all creators and performers to continue striving for greater inclusivity in their works.