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Great Expectations begs to be retold. The story of a poor boy becoming a gentleman, only to find that his path to wealth and influence was built on the machinations of a criminal, leading him to reassess his value system, is irresistible. For Hayek Pinault the “brilliance” of the “Joan is Awful” is that it “keeps making you laugh, making you anxious, blowing your mind, and making you think,” she tells Tudum. There is value in sharing personal stories that we don’t hear enough, but this doesn’t have to be the only way for racialized actors to appear on screen or on stage. Reimagining who can be a superhero, a mermaid, a princess, or a doctor could make the casting process a more even playing field for everyone. As a Mixed-Race woman of colour who grew up in the UK loving period literature and storytelling - perhaps against the odds - I can tell you first-hand that these casting decisions are pivotal. Pepter Lunkuse as Cordelia and Don Warrington as King Lear at the Royal Exchange Theatre in Manchester. Photograph: Jonathan Keenan

The distinction between “colour blindness” and “colour consciousness” is not always clear cut, or universally agreed upon (Talawa does not have a firm preference for either term, despite its approach to race and casting being highly intentional). Nonetheless, the most contentious examples do appear to expose that they are quite different ideologies. “Historically, there are cases where colour-blind casting has been used to cast white people as characters of colour, because they were seemingly ‘the best person for the job’,” Tran says. “You can see it with the casting of Scarlett Johansson as Motoko Kusanagi, a Japanese woman turned cyborg, in the 2017 film Ghost in the Shell. In 1990, the Broadway production of Miss Saigon was shut down briefly because white actor Jonathan Pryce was cast as a half Asian-half white character. The producers said his talent was what mattered. In doing so, colour-blind casting was used to promote white supremacy, and take away opportunities for actors of colour.” Lady Danbury (Adjoa Andoh), Simon’s godmother, is an elder stateswoman and a twist on the battle-ax aunt trope popular in period dramas. She isn’t as caustic and insulting as some other famous widows and spinsters but she commands authority and a mansion filled with people to perform all the hard labor. Lady Danbury is even implied to be slightly higher in status than her white counterparts with children of marrying age Lady Violet Bridgerton (Ruth Gemmell) and Lady Portia Featherington (Polly Walker). Brooker noted that Paul “had to wrestle with some grim material.” Adding that they “were filming in a heat wave, and I have no idea how he stayed sane.” Casting directors are now casting actors, models, and influencers to work on scenes filmed in the United Kingdom. Dhindsa, Hardeep, and Vanessa Stovall. “‘Give ’em Something to Talk About’—a Breakdown of Lizzo and Cardi B’s ‘Rumors.’” Antiquipop, edited by Fabien Bièvre-Perrin, 23 Oct. 2021, https://antiquipop.hypotheses.org/eng/10015eng. Accessed 29 Jul. 2022. [Google Scholar]

Great Expectations begs to be retold.

Barriers that undermine equity in content development, financing, marketing, and distribution come at a substantial cost to the film and TV industry.

In television, film and theatre, ethnic minorities are represented better than ever, which is something that most actors and directors of colour feel should be celebrated. While the conversation around casting processes might sound like hair-splitting, it does seem important to interrogate the results they produce – particularly in TV, where there is a significant discrepancy between representation behind the camera and representation in front of it. Rosalind Eleazar and Dev Patel in The Personal History of David Copperfield, directed by Armando Iannucci. Photograph: Allstar/FILMNATION ENTERTAINMENT I had never truly experienced period drama in the way that I believe it is supposed to be experienced, because I had never seen someone who looked like me be truly involved in the romance of it. Salma Hayek Pinault plays a fictionalized version of herself, who’s then playing Murphy’s Joan on the Streamberry TV show. “I play both an exaggerated version of myself and of Joan,” Hayek Pinault told Netflix. “It’s a once-in-a-lifetime opportunity to play an interpretation of myself. I got to explore the concepts and clichés people have about me and be self-deprecating. It’s as if I created an alter ego where I could do the most disgusting, grotesque things that you would never do in real life, and have permission to do that.” Tomasso, Vincenzo. “The Twilight of Olympus: Deicide and the End of the Greek Gods.” Classical Myth on Screen, edited by Monica Cyrino and Meredith Safran, Palgrave Macmillan, 2015, pp. 147–57. [Crossref] , [Google Scholar]Be prepared. Have all the materials you need ready before the casting call to make the most of your time with each candidate. hooks, bell. Reel to Real: Race, Class and Sex at the Movies. 1996. Routledge, 2009. [Google Scholar] Besides, sometimes race and gender are at the heart of the material and will resist meddling. It would be difficult, though by no means impossible, to fiddle with the racial makeup of Six Degrees of Separation, say, or even A Bronx Tale. Same goes for gender in most of this season’s new plays.