RE: Sock ‘n’ Buskin should strive for more diversity, Nov. 19-25.
I’d like to begin by thanking The Charlatan for beginning this conversation through its editorial about the suggested lack of diversity at Sock ‘n’ Buskin Theatre Company.
As a member of the board of directors, a director of a forthcoming production, and a fan of the work Sock ’n’ Buskin produces, I understand personal attachments can make it difficult to see things from an outside perspective.
All of our shows this year were written by white males. I can say without reservation this is entirely a coincidence and not symptomatic of any conscious biases. I say that realizing it doesn’t change anything, and from the outside looking in, our season can appear fairly whitewashed.
Having spoken in length with others in the company, we all share an interest in opening a dialogue with the Carleton community. We are not content to idly accept things the way they are. Among those I’ve spoken to, there is a definite urge to address the concerns raised in the editorial. We want the Carleton community to see us for what we are: an all-inclusive, welcoming group of students who love theatre.
Having said that, I now write as a member of Carleton’s journalism community. I am thoroughly disappointed in the lack of effort put forth by The Charlatan in publishing this editorial. This issue deserves far more than the sparse 167 words it got.
Also, several assumptions were made about Sock ’n’ Buskin’s submission and selection process for the assembly of its season line-up in The Charlatan‘s editorial found in print. Sock ‘n’ Buskin prides itself on its open casting process. This year, Mephistopheles, who takes the form of a Franciscan friar in our production of Dr. Faustus, was cast as a woman. In our production of Rope, Rupert, who is played by Jimmy Stewart in Alfred Hitchcock’s 1948 film adaptation of the same name, is being played by a woman as well.
It’s easy to read these as isolated incidents and argue I am cherry-picking examples to save face for the company, but the list goes on: The Mouse that Roared had gender-blind casting and a strong female lead. The Tempest had Prospera, the female protagonist who orchestrates the narrative. Bonnie & Clyde had famous bank robber Bonnie Parker and several people of colour, while being set in Texas during the 1930s. I could go on, but I won’t.
I will say The Charlatan has undermined its argument—a valid one—with shoddy research. You needn’t talk to us to learn about our internal mechanisms and casting processes. Talk to anyone in your office who has covered a Sock ’n’ Buskin story. Talk to anyone. Talk to someone.
I appreciate the concern this publication has shown for Sock ‘n’ Buskin. I have a natural inclination to defend this company I hold so dear to my heart. I am thankful for this opportunity to improve and make our company grow. We have all taken this criticism to heart and mean to address it fully.
But just a word of closing advice—argue with us, dispute us, challenge us, but don’t yell at us.
