How Black Creatives Are Working to Shake Up Broadway and Implement Lasting Change

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How Black Creatives Are Working to Shake Up Broadway and Implement Lasting Change
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When Stephen C. Byrd began producing on Broadway 16 years ago, he and his partner Alia Jones-Harvey were usually the only Black faces they saw in the business. “We would walk into marketing offices…

When Stephen C. Byrd began producing on Broadway 16 years ago, he and his partner Alia Jones-Harvey were usually the only Black faces they saw in the business. “We would walk into marketing offices, PR firms, general management offices, and there was no one that looked like us, ever,” Byrd recalls. “We would question it when we went in. ‘Why aren’t there people of color here?’ We felt strange sitting at the table.

The Great White Way has, since its inception, been exactly that — mostly white: There are few people of color, and the industry’s prime ticket-buying demographic remains predominantly white as well. The sweeping efforts underway aim to change the face of Broadway at last, from the stories told onstage to the decision-makers behind the curtain to the audiences who fill the seats.

“We knew we had a platform together, and there was some influence there that collectively we could wield,” says another BTU co-founder, Schele Williams, a director at work on a reimagined production of Disney’s “Aida” as well as a musical adaptation of “The Notebook.” “We needed to insist that our industry not only have the conversations but really have some structures and some accountability.”

Joint commitments across all groups include the abolishment of unpaid internships; support for an industrywide digital training program for equity, diversity, inclusion and belonging that theater owners will develop this fall; and the promise never to discriminate against anyone due to hair texture. Overall, the New Deal document encompasses more than 10 pages of specific commitments, with further summit meetings planned once every six months through 2024.

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