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The Black and White Minstrels are thankfully long gone. But is it OK to white or black up if the roles in no way debase any race? Alec Guinness did in A Passage to India; so did Laurence Olivier as Othello. These talented actors inhabited the parts well enough yet were condemned by people of colour because so many of their own actors didn't get the chances they deserved.
That is the dilemma now creating, once again, more drama outside than inside the National Theatre. In its notorious production of England People Very Nice earlier this year, successive waves of “ethnic” immigrants into Bethnal Green were given the full-on un-PC treatment for comic effect. The same lack of awareness is evident with its new play, Death and the King's Horseman, by the Nigerian Nobel Prize winner Wole Soyinka, which opened last night.
It is an exploration of colonialism using the storytelling conventions of Nigeria, where they whiten up black faces to represent imperial masters. Director Rufus Norris has borrowed the idea to stay true, he says, to the play's Yoruba roots.
Many may ask why we should tolerate this kind of racial caricature when even our royalty does not get away with “blacking up” for entertainment. It is a fair question, burning for some. Black actors chalking up to represent ignorant white rulers is unacceptable negative stereotyping.
The white objectors need to be taken seriously. However, whitening up, though offensive, is not like blacking up, which has a long history linked to slavery and the systemic demonisation of blackness. Al Jonson, Bing Crosby, the minstrels and others turned their white faces into grotesque visages, part brute, part comic, the archetypal “stupid nigger”. The Devil/Beelzebub are painted black.
By contrast white faces, even painted ones, are never the symbol of evil, nor is there a history of exploitation of whites by blacks.
Still, considering the ferment over race and roles, it was unwise not to use white actors in Soyinka's play. The arty like mischief and our National Theatre appears to be turning into a theatrical agent provocateur, knowingly inciting people to emote. Death and the King's Horseman deserves to be seen in its own right. Instead it will now draw in crowds eagerly seeking a row. What a pity.
Reader views (6)
I used to love the black and white minstrels!
- Gorblimey, Shenzhen ,China
The Black and White Minstrels were a fine group of singers,and I spent many happy hours listening to them,not a thought of slaves and other rubbish which happened long before your time.
- David., Chertsey.UK.
By drawing attention to this, the National Theatre have gained themselves loads of Free publicity.
Which is probably exactly what they were after. It's 'bums on seats' that count.
- Ann Louisa, Southampton
Dear Yasmin, did you know way back in history that white people were also slaves and under black ownership ?
- Joe, Swanley Kent
"whitening" or "blackening" in the context of ridiculing or demonizing the other race is objectionable - period.
Not all black people have been slaves nor all white people slave owners.
- Mary, Pittsburgh, USA
"The National Theatre appears to be...knowingly inciting people to emote". Is this intended as a criticism? It sounds like business as usual for the theatre. I don't think any National Theatre goers are likely to confuse what is going on in Soyinka's play with blacking up. They will not fail to grasp what you have so eloquently set out, that there is no symmetry here. Nor do I think any white actors will feel cheated out of these roles because, clearly, it is entirely appropriate and indeed artistically necessary in this production of this play for black actors to play these parts. There are no sensitivities to spare here and no progressive ideals to defend, except artistic freedom and freedom of expression, which would be compromised if your casting suggestions were imposed.
- Bloke, London
