2/. Executive Summary. 6/. Breakdown by Ethnicity, 2016-17 Season 2. ROUNDABOUT THEATRE COMPANY (88% of 24 minority actors).
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The mission of Asian American Performers Action Coalition (AAPAC) is to expand the perception of Asian American performers in order to increase their access to and representation on New York City™s stages. AAPAC publishes the only publicly available annual statistics report on minority representation in the NYC area of its kind, and has been a leader in discussions and forums on diversity with artistic institutions and the Broadway community. www.aapacnyc.org AAPAC is a volunteer-driven organization. In order to release future reports in a timely manner, we will be paying designers and compilers. If you ˜nd these statistics useful, we ask that you make a tax-deductible donation through our ˜scal sponsor, Fractured Atlas. Go to www.fracturedatlas.org and search for AAPAC or go to our direct page: https://www.fracturedatlas.org/site/˜scal/pro˜le?id=12552 We thank you for your donation and support! This report was made possible through the generous support of the American Theatre Wing.
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1/ Introduction 2/ Executive Summary 6/ Breakdown by Ethnicity, 2016-17 Season 7/ Breakdown by Gender, 2016-17 Season 8/ Broadway & Non-Pro˜t Actors, Year-To-Year 9/ Broadway Actors Year-To-Year 10/ Broadway Actors, Plays vs. Musicals 2016-17 Season 11/ List of Included Broadway Plays and Musicals 2016- 2017 Season 13/ Non-Pro˜t Actors Year-To-Year 14/ Non-Traditional Casting Year-To-Year 15/ Non-Pro˜t Theatre Companies Comparison, 2016-2017 Season 16/ Individual Non-Pro˜t Theatres 34/ Methodology 36/ Acknowledgements TABLE OF CONTENTS
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March 2019 After publishing 10 years of employment statistics of performers in the New York City theatre industry, we are proud to expand our report this year to include playwrights, composers, lyricists and directors. While our focus will always be on performers, we realize that tracking statistics on all creatives employed may have a direct impact on the employment of actors of color, while also providing a more accurate picture of the inclusivity within our industry. We can now begin to answer different questions, such as, fiDoes producing more playwrights of color lead to an increase in the hiring of actors of color?fl or fiDoes non-traditional casting increase as more directors of color are hired?fl We are also now tallying gender breakdowns for each category. Expanding our scope was no small feat, but there was a clear need to have all these numbers in one place. Since our report continues to be the only resource where these kinds of statistics are publicly available, and since it has been so widely used and quoted, it made sense that we should be the ones to step up to the plate and ful˜ll that need. These new statistics provide a startling look at the imbalance of power that continues to be normalized within our industry. Caucasian playwrights wrote a whopping 86.8% of all shows produced in the 2016-17 season and Caucasian directors were hired for 87.1% of all productions. We can™t begin to hold stakeholders responsible without statistics like these. The numbers speak for themselves. Also new this year are some additions to the non-pro˜t theatre companies that we count. Instead of inclusion based solely on budget size, we are now including all major non-pro˜t theatre companies that produced shows on an Actors™ Equity Association (AEA) Off-Broadway contract (Off-Broadway Mini or Off-Broadway Letter of Agreement contracts excluded). Due to this adjustment, The Women™s Project (WP) Theater, Ars Nova, and The Irish Repertory Theatre have been added and The York Theater Company has been removed. This expanded report would not have been possible without the generous support and partnership of the American Theatre Wing. We will be revamping our database infrastructure, data visualizations and graphic designs in reports to come. With the expansion of the report, it has become paramount for us to hire the professionals we need to continue to grow. If you believe that these reports are important, we ask you to make a tax-deductible donation at www.fracturedatlas.org (on the site, type AAPAC in the search bar ). Every little bit helps. As always, thank you for being our colleague, our ally, and an advocate for inclusion in the theatre industry. We are all responsible for the change we want to see. Sincerely, Pun Bandhu, Cindy Cheung, Angel Desai, Christine Toy Johnson, Peter Kim, Julienne Hanzelka Kim, Kenneth Lee, Eileen Rivera, and Nandita Shenoy 1INTRODUCTION
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OVERALL INDUSTRY 33% of all available roles on New York City stages went to minority actors in the 2016-17 season, a drop from 35% last season. Despite this slight decline, this marks the third consecutive year of exceeding a 5-season average of 29.4%, suggesting the continuation of an upward trend in the casting of minority actors. 57% of actors cast this season were male, 42.8% were female, and 0.2% were non-binary. African American performers saw the steepest decline representing at 18.6% down from 23%, while Asian American performers saw the biggest increase to 7.3% up from 4% the season prior. Latinx performers represented at 5.1%, Middle Eastern/North African (MENA) at 1.7%, American Indian/ Native/First Nation (AI/N/FN) at 0.1%, and performers with disabilities (DIS) at 0.5%. Caucasian performers ˜lled 66.8% of all available roles and continue to be the only ethnicity to over-represent compared to their respective population size in New York City. Caucasian playwrights wrote 86.8% of all plays produced this season. Only 13.2% of all plays produced in New York City were written by minority playwrights in the 2016-17 season. African American playwrights represented at 7.8%, Latinx playwrights at 2.5%, Asian American playwrights at 1.5%, MENA playwrights at 1.5%, and American Indian/ Native/First Nation playwrights and playwrights with disabilities both at 0%. In addition to the industry™s inclination to produce predominantly white playwrights, there is also a signi˜cant inequity as far as gender parity goes. 75.4% of all playwrights included in our survey were male, 24.6% were female, and 0% were non-binary. 87.1% of all productions produced this season were directed by Caucasian directors. Only 12.9% of all productions in New York City were directed by minority directors in the 2016-17 season. African American directors represented at 6.1%, Latinx directors at 2.3%, Asian American directors at 3.0%, MENA directors at 1.5%, and American Indian/Native/First Nation directors and directors with disabilities both at 0%. As far as gender goes, female directors fared a little better than female playwrights, representing at 31.1%. 68.2% of all directors were male and 0.8% were non-binary. BROADWAY On Broadway in the 2016-17 season, minority actors suffered a 7-point drop in representation down to 29% from 36% the previous season, which had been a record breaking season for diversity on Broadway. 58% of actors cast this season were male, 42% were female, and 0% were non- binary. Latinx representation saw the steepest decline on Broadway, dropping to 2.9% this season from 8% during the 2015-16 season. African American performers represented at 18.6%, Asian Americans at 6.7%, MENA at 0.9%, American Indian/Native/ 33%OF ALL ROLES CAST WITH MINORITY ACTORS 86.8%OF ALL PLAYS WRITTEN BY CAUCASIAN PLAYWRIGHTS 87.1%OF ALLPRODUCTIONS DIRECTED BY CAUCASIAN DIRECTORS 29%OF ALL ROLES ON BROADWAY WENT TO MINORITY ACTORS 2EXECUTIVE SUMMARY
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First Nation at 0%, and performers with disabilities came in at 0.3%. Caucasian performers saw the biggest increase to 71% of all available roles on Broadway, up from 64% the season prior. It is signi˜cant to note that 95% of all plays and musicals produced on Broadway this season were written by Caucasian playwrights. Minority playwrights represented at a slim 5% in total with African American playwrights at 4.1%, Latinx and Asian American playwrights at 0%, MENA playwrights at 1.4%, and American Indian/Native/First Nation playwrights and playwrights with disabilities at 0%. 89% of playwrights produced on Broadway were male, 11% female, and 0% non-binary. Similarly, 95% of all Broadway plays and musicals were directed by Caucasians. Minority directors represented at 5% and were comprised entirely of African American directors. 0% of directors were Latinx, Asian American, MENA, American Indian/Native/First Nation, or were directors with disabilities. 82.5% of all Broadway directors were male, 17.5% were female, and 0% were non-binary. NON-PROFIT THEATRE COMPANIES The non-pro˜t theatre companies ˜lled 37% of all roles with minority actors in the 2016-17 season, a signi˜cant increase from 31% the season prior. 57% of actors cast this season were male, 42.6% were female, and 0.4% were non-binary. In the non-pro˜t sector, Asian American performers saw the greatest increase to 7%, up from 3% the season prior, and MENA performers more than doubled their representation at 2.6% during the 2016-17 season. African American performers represented at 20%, Latinx at 7%, American Indian/Native/First Nation at 0.1%, and performers with disabilities at 0.9%. Caucasians saw the steepest decline, dropping from 69% to 63% this season. Caucasian playwrights wrote 82% of all plays produced at non- pro˜t theatres during the 2016-17 season. African American playwrights represented at 10.3%, Latinx playwrights at 3.4%, Asian American playwrights at 2.1%, MENA playwrights at 2.1%, and American Indian/Native/First Nation playwrights and playwrights with disabilities both at 0%. 69.7% of playwrights in the non-pro˜t sector were male, 30.3% were female, and 0% were non-binary. 37%OF ALL ROLES IN NON-PROFITTHEATRES WENT TO MINORITY ACTORS 95%OF ALL BROADWAY PRODUCTIONS WRITTEN BY CAUCASIAN PLAYWRIGHTS 95%OF ALL BROADWAY PRODUCTIONS DIRECTED BY CAUCASIAN PLAYWRIGHTS 82%OF ALL NON-PROFIT PRODUCTIONS WRITTEN BY CAUCASIAN PLAYWRIGHTS 3EXECUTIVE SUMMARY
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HIGHEST NON-TRADITIONAL CASTING The following theatre companies had the highest percentage of roles that were cast non- traditionally. 1. THEATRE FOR A NEW AUDIENCE (100% of 23 minority actorsŠtied) 1. THE NEW GROUP (100% of 8 minority actorsŠtied) 1. WP THEATER (100% of 4 minority actorsŠtied) 1. MCC THEATER (100% of 3 minority actorsŠtied) 2. ROUNDABOUT THEATRE COMPANY (88% of 24 minority actors) LOWEST NON-TRADITIONAL CASTING The following theatre companies had the lowest percentage of non-traditionally cast roles. 1. VINEYARD THEATRE (0% of 1 minority actorsŠtied) 1. PRIMARY STAGES (0% of 2 minority actorsŠtied) 1. ARS NOVA (0% of 3 minority actorsŠtied) 1. SECOND STAGE THEATER (0% of 8 minority actorsŠtied) 1. IRISH REPERTORY THEATRE (0% of 10 minority actorsŠtied) 1. CLASSIC STAGE COMPANY (0% of 12 minority actorsŠtied) 100%TFANA THE NEW GROUP WP THEATER MCC 0%VINEYARD PRIMARY STAGES ARS NOVA SECOND STAGES IRISH REPERTORY CSC5EXECUTIVE SUMMARY
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Demographics for New York City, US 2010 Census: Caucasian: 44.0% Black/African American: 25.5% Hispanic/Latino: 28.6% Asian: 12.7% Native Hawaiian & Paci˜c Islander: 0.1% American Indian and Alaska Native: 0.7% Two or more races: 4.0% Bway & Non-Profits ACTORS Caucasian 66.8% African American 18.6% Latinx 5.1% Asian American 7.3% MENA 1.7% AI/N/FN 0.1% DIS 0.5% Broadway and Non-Pro˜t Playwrights Combined Bway & Non-Profits PLAYWRIGHTS Caucasian 86.8% African American 7.8% Latinx 2.5% Asian American 1.5% MENA 1.5% AI/N/FN 0.0% DIS 0.0% Bway & Non-Profits DIRECTORS Caucasian 87.1% African American 6.1% Latinx 2.3% Asian American 3.0% MENA 1.5% AI/N/FN 0.0% DIS 0.0% Broadway and Non-Pro˜t Directors Combined Broadway and Non-Pro˜t Actors Combined 6BREAKDOWN BY ETHNICITY, 2016-17 SEASON
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Bway & Non-Profits ACTORS MFNB Male 57.0% Female 42.8% Non -Binary 0.2% Bway & Non-Profits PLYWRTS MFNB Male 75.4% Female 24.6% Non -Binary 0.0% Bway & Non-Profits DRCTORS MFNB Male 68.2% Female 31.1% Non -Binary 0.8% Broadway and Non-Pro˜t Playwrights Combined Broadway and Non-Pro˜t Directors Combined Broadway and Non-Pro˜t Actors Combined 7BREAKDOWN BY GENDER, 2016-17 SEASON
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33% of all roles across the industry went to minority actors in the 2016-17 season, a 2 point drop from the record set the previous season. Despite this slight decline, this marks the third consecutive year of exceeding a 5-season average of 29.4%, suggesting the continuation of an upward trend in the casting of minority actors. African American performers saw the steepest decline, dropping over 4 points to 18.6% from 23% the prior season where they had hit their highest marker on record. Latinx performers also saw a decline from a record high hit last season, dropping nearly 2 points to 5.1% from 7%. Asian American performers saw a signi˜cant gain, jumping over 3 points to 7.3% this season, up from 4% the prior season. MENA performers represented at 1.7% this season, a modest increase from 0.83% the prior season. American Indian/Native/First Nation representation remained virtually unchanged at 0.1% this season, up minimally from 0.08%. Performers with disabilities also showed little change, representing at 0.5%, down minimally from 0.67% in the prior season. 8BROADWAY & NON-PROFIT ACTORS, YEAR-TO-YEAR Bway and Non Profit Yr to Yr Caucasian 85%Caucasian 77%Caucasian 80%Caucasian 78%Caucasian 79%Caucasian 78%Caucasian 75%Caucasian 76%Caucasian 70%Caucasian 65%Caucasian 67%African American 9%African American 13%African American 14%African American 17%African American 14%African American 16%African American 16%African American 17%African American 17%African American 23%African American 19%Latinx 2%Latinx 6%Latinx 4%Latinx 3%Latinx 3%Latinx 3%Latinx 4%Latinx 3%Latinx 3%Latinx 7%Latinx 5%Asian American 3%Asian American 4%Asian American 2%Asian American 1%Asian American 2%Asian American 3%Asian American 5%Asian American 4%Asian American 9%Asian American 4%Asian American 7%MENA/AI/DIS 1%MENA/AI/DIS 1%MENA/AI/DIS 0%MENA/AI/DIS 1%MENA/AI/DIS 1%MENA/AI/DIS 1%MENA/AI/DIS 1%MENA/AI/DIS 1%MENA/AI/DIS 1%MENA/AI/DIS 2%MENA/AI/DIS 2%Minority Actors 15%Minority Actors 23%Minority Actors 20%Minority Actors 22%Minority Actors 21%Minority Actors 22%Minority Actors 25%Minority Actors 24%Minority Actors 30%Minority Actors 35%Minority Actors 33%0%10% 20% 30% 40% 50% 60% 70% 80% 90% 100% 2006/2007 2007/2008 2008/2009 2009/2010 2010/2011 2011/2012 2012/2013 2013/2014 2014/2015 2015/2016 2016/2017
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