Should Casting in Musicals Be About Talent...Not Identity?

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Imagine walking into an audition knowing what you will get before you even get a chance to audition. Not because you’re unprepared, and not because you don’t have the talent but instead you don’t “fit” the role, you seem too “fit” another better. Casting decisions in musical theater usually are based on appearance, ethnicity, and gender rather than talent. As casting evolves, a debate has emerged: should roles be given based on old standards, or should we rethink what truly matters in the art of performing?

Feeling as though you have nothing to work for or look forward to because you already know your fate is tragic. Knowing how things will play out takes the spontaneity out of the whole concept of casting a musical and going through a lengthy audition process. Chances are directors hold auditions, but your outcome was decided before you even stepped through the door. 

Typecasting in musicals limits opportunity, supports stereotypes, and will weaken both actors and the creative potential of theatre. 

Type casting will ruin confidence. 

Those who have done musicals for most of their life get the feeling of being put into a bubble. The feeling of only being allowed to play one role because of their personality, body, or gender in the real world may make them want to change themselves. 

In “Not the Leading Role of Life”: Fatphobia in Educational Theatre & Its Impact on Larger-Bodied Adolescent Girls it backs up this hypothesis that people feel this way. Lucy Kania says, “The messages I internalized about myself during my time in educational theatre, aided of course by the medical fat-phobia I experienced, haunt me in very real ways, ways I am still trying to untangle and unlearn.” Being put in a bubble by others will shape how you see yourself, and may affect you for many years. Nobody got time for a lifetime of unraveling. 

You have to think that if you were only given certain roles you would soon believe that you are these roles and you will lose yourself in them.  Lucy is only a highschool girl, if it starts that young what could it truly be like in the big leagues. 

Type casting reduces creativity. 

When you are only allowed to play one role and not experience other things you start to lose creativity. There are only so many ways to play the same role over and over again. 

In the article Lori Tan Chinn Is a Scene-Stealer in Awkwafina's New Series. But the Role Comes After Decades of Harassment and Discrimination, Chinn says “she lost many Asian-specific roles to white actors—including Meryl Streep—while the scant roles she was offered were often Mandarin-speaking caricatures.” This goes into a deeper meaning of typecasting. She is an authentic asian woman however the discrimination in musicals stopped her from getting the leads even if it was an asian feature part. 

There's no room to grow when you are put in a box with oxygen. These artists have no room to breathe and do what they are there for… create beautiful art. No matter the size, shape, or color. When creativity is drowned the industry will reap the effects. When people aren’ t allowed to show their creative liberty we the audience miss out on that wonderful experience and everything looks the same and overdone. 

Why type casting by race, sexuality, religion, and body type is bad.

It is likely you may already know the answer to this question. If you don’t I would go read other articles to gather some more background knowledge on this social injustice.

In the article “Not the Leading Role of Life”: Fatphobia in Educational Theatre & Its Impact on Larger-Bodied Adolescent Girls Lucy says, “I still struggle with my sense of self-worth on a daily basis.” Lucy may only be one case; however many people have talked out about how musical theatre typecasting will mess with their heads and drive them mad. By typecasting based off of certain characteristics it will create a divide and there will be inequality on and off stage.  

Some may counter this whole idea and say, ‘Well shouldn’t you do what’s best for the show’. 

Well that is an honest concern, that raises a deeper question, who decides what’s “best?” If these standards in the past have excluded people based on appearance or identity, then they may need reexamining.

 Some may argue that artistic growth and fairness are more important than predictability. We live in a world where not everything is black and white. Yes, the integrity of the show is something to take into consideration when casting, but integrity in musicals is a social construct created by several people years ago, it may be time to step out of our boxes.. Especially when creating art. The more colors, shapes, sizes, the more beautiful the art will be. The world will keep spinning if a director decides to cast a ‘bigger girl’ as Cinderella. There is nothing in the show that has anything to do with Cinderella's weight, however you may not be able to cast a skinny girl as Tracy in Hairspray, that is a plot point of the show. 

In the article “Not the Leading Role of Life”: Fatphobia in Educational Theatre & Its Impact on Larger-Bodied Adolescent Girls it talked about, “study identifies areas of concern, including typecasting and costuming, and areas of impact, including internalized negative messaging and low self-esteem.” This is not what musicals were supposed to do. They are supposed to be a fun soul warming way for people to be told a story. 

There is nothing in a musical that should make people hate themselves. As stated before, musicals are an art and art is changing everyday so we must change with it and accept what is new. 

At the end of the day, talent tells the story and typecasting just limits who gets to tell it. We can’t lose creativity, and actors can't lose themselves to something that is supposed to be freeing. The performing arts should showcase expression, not restrict it through narrow expectations. If the industry hopes to remain relevant, it must move beyond outdated assumptions and prioritize talent over social norms. Otherwise, the stage risks limiting not only performers, but the stories themselves.