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Miscast: The Playwright Decides, and No One Else Gets a Vote

There is a moment in the life of every playwright when someone walks into a rehearsal room and announces that the character you wrote is not, in fact, the character you wrote. The director has a vision. The institution has a policy. The casting committee has decided that your Irish Catholic mother from the Southside of Chicago would be better served by an actress who has no connection to the world you built because connection, in the current theatrical climate, is less important than representation, and representation is whatever the people who control the stage say it is. You sit there. You watch your play become someone else’s argument. And you have two choices: you can let it happen, or you can pull the production.

I pulled the production.

That story appears in Chapter 11 of Miscast: Who Owns the Story on Stage?, my new book, now available in eBook, paperback, and PDF from David Boles Books. The anecdote is from Columbia University, where I was earning my MFA, and where a director proposed splitting a single character in my play into bipolar twins under the banner of non-traditional casting. I said no. I cancelled the production. I lost the showcase. I kept the play. That was more than thirty years ago, and I have spent the time since thinking about what that moment meant, not just for me but for every playwright who has watched the American theatre transform casting from an artistic decision made by the author into an institutional mandate imposed over the author’s objection.

Miscast is the book that thinking produced.

The argument is simple. The playwright creates the characters. The playwright determines what the characters are. No institution has the right to override that determination. When Lin-Manuel Miranda casts actors of color as the Founding Fathers in Hamilton, that is authorial choice, and it is art. When an institution imposes non-traditional casting on a playwright’s work without the playwright’s knowledge or against the playwright’s wishes, that is something else entirely. It is expropriation. It is the seizure of creative authority from the person who did the creating. And it is now standard practice in the American theatre, codified in equity agreements, hiring mandates, and the Dramatists Guild’s own 2021 Inclusion Rider, the first contract addendum in theatre history that asks playwrights to redirect their copyright authority toward institutional demographic objectives.

That is a sentence worth reading twice.

The book traces the full arc. It begins with the all-male stages of fifth-century Athens, where Medea and Clytemnestra were performed by masked men in a civic festival that excluded women not because they lacked talent but because the stage was a function of democratic citizenship and women were not citizens. It moves through the Restoration revolution of 1660, when Charles II returned from French exile and issued a royal warrant requiring female roles to be performed by women, ending two thousand years of all-male convention in England overnight. It examines the blackface minstrelsy of the nineteenth century, which I argue is not the opposite of non-traditional casting but its structural cousin: both treat the actor’s body as raw material on which someone else’s vision is painted, the one through burnt cork, the other through institutional policy, with the same underlying assumption that the controlling authority, not the playwright, decides what the body on stage means.

That claim will make people uncomfortable. It is meant to. The surface justifications of blackface and non-traditional casting are opposite, one rooted in white supremacy, the other in racial justice, but the structural relationship between the performer’s body and the institution that governs the stage is identical. The body is canvas. The institution holds the brush. The playwright, in both systems, is irrelevant.

The book then turns to case studies that give the argument flesh. Samuel Beckett’s refusal to allow the American Repertory Theatre to cast women in Endgame in 1984, which established that a playwright’s stage directions are not suggestions but legally enforceable elements of the work. August Wilson’s 1996 address at the Theatre Communications Group conference, “The Ground on Which I Stand,” which declared that Black plays require Black directors and Black actors, and which remains the most important speech about race and the American stage delivered in the last half century. The casting of Hamilton and the 2022 revival of 1776, where color-conscious casting was deployed to reimagine the founding mythology of white America through non-white bodies, with radically different results. The removal of a white ASL interpreter from a performance of The Lion King because the actors on stage were Black, which raises a question the theatre has not answered: is an interpreter a performer or a conduit? Ali Stroker’s Tony-winning performance in Oklahoma!, which asks whether a wheelchair in a scene that depends on physical running is an artistic disruption or an artistic contribution, and who gets to decide. Eugene O’Neill’s Irish families, in which the ethnicity is not decoration but architecture, load-bearing walls that collapse if you remove them.

Each of these cases is examined at length, with sources documented and arguments presented with as much candor as I can bring to the page. I have tried to be fair. I have also tried to be honest. Where those two imperatives conflict, I chose honesty. That choice runs through the entire book, and it is the choice I have made in every professional decision since I founded The United Stage on the principle that the playwright has the right to direct the first public performance of the playwright’s own play.

I have been a dues-paying member of the Dramatists Guild of America since July 2, 1984, member number 45010, enrolled on the advice of a freshman playwriting teacher at the University of Nebraska-Lincoln who read the first one-act play I ever wrote and told me to join immediately. I did not understand at eighteen what that membership meant. I understand it now. The Guild was built to protect the playwright. Its Bill of Rights, maintained since the first Minimum Basic Agreement of 1926, affirms the playwright’s right to approve casting, the creative team, and production elements, to be present at rehearsals, to own the copyright, and to protect the integrity of the text. This book criticizes the Guild’s Inclusion Rider, and I want to be clear that the criticism is offered from within the Guild, by a member who has been paying dues without interruption for more than forty years, who believes in the Guild’s foundational mission, and who writes this book in its defense.

The book also benefits from the expertise of Janna Sweenie, my collaborator on American Sign Language educational materials, who contributed her knowledge of Deaf culture, interpreter ethics, and the NAD-RID Code of Professional Conduct to the chapter on the Lion King interpreter incident. The precision in that analysis is hers. The errors in the book are mine.

Miscast is not a book about inclusion. It is a book about authorship. The distinction matters more than any other distinction in the American theatre today, because every institution that promotes non-traditional casting claims to be expanding inclusion, and some of them are, but the mechanism by which they do it requires seizing creative authority from the person who created the work. That seizure is the subject of this book. That seizure is what I spent thirty years watching. That seizure is what I said no to in a rehearsal room at Columbia, and what I am saying no to now, in print, at full length, with documentation.

The playwright decides. That is the ground on which this book stands.

Miscast: Who Owns the Story on Stage? is available now from David Boles Books in Kindle eBook ($9.99), paperback ($16.99), and free PDF download. David Boles is a member of the Dramatists Guild, the Authors Guild, and PEN America. He holds an MFA from Columbia University and has been writing for the stage, for television, and for publication for more than four decades.

Miscast: The Playwright Decides, and No One Else Gets a Vote

There is a moment in the life of every playwright when someone walks into a rehearsal room and announces that the character you wrote is not, in fact, the character you wrote. The director has a vision. The institution has a policy. The casting committee has decided that your Irish Catholic mother from the Southside of Chicago would be better served by an actress who has no connection to the world you built because connection, in the current theatrical climate, is less important than representation, and representation is whatever the people who control the stage say it is. You sit there. You watch your play become someone else’s argument. And you have two choices: you can let it happen, or you can pull the production.

I pulled the production.

That story appears in Chapter 11 of Miscast: Who Owns the Story on Stage?, my new book, now available in eBook, paperback, and PDF from David Boles Books. The anecdote is from Columbia University, where I was earning my MFA, and where a director proposed splitting a single character in my play into bipolar twins under the banner of non-traditional casting. I said no. I cancelled the production. I lost the showcase. I kept the play. That was more than thirty years ago, and I have spent the time since thinking about what that moment meant, not just for me but for every playwright who has watched the American theatre transform casting from an artistic decision made by the author into an institutional mandate imposed over the author’s objection.

Miscast is the book that thinking produced.

The argument is simple. The playwright creates the characters. The playwright determines what the characters are. No institution has the right to override that determination. When Lin-Manuel Miranda casts actors of color as the Founding Fathers in Hamilton, that is authorial choice, and it is art. When an institution imposes non-traditional casting on a playwright’s work without the playwright’s knowledge or against the playwright’s wishes, that is something else entirely. It is expropriation. It is the seizure of creative authority from the person who did the creating. And it is now standard practice in the American theatre, codified in equity agreements, hiring mandates, and the Dramatists Guild’s own 2021 Inclusion Rider, the first contract addendum in theatre history that asks playwrights to redirect their copyright authority toward institutional demographic objectives.

That is a sentence worth reading twice.

The book traces the full arc. It begins with the all-male stages of fifth-century Athens, where Medea and Clytemnestra were performed by masked men in a civic festival that excluded women not because they lacked talent but because the stage was a function of democratic citizenship and women were not citizens. It moves through the Restoration revolution of 1660, when Charles II returned from French exile and issued a royal warrant requiring female roles to be performed by women, ending two thousand years of all-male convention in England overnight. It examines the blackface minstrelsy of the nineteenth century, which I argue is not the opposite of non-traditional casting but its structural cousin: both treat the actor’s body as raw material on which someone else’s vision is painted, the one through burnt cork, the other through institutional policy, with the same underlying assumption that the controlling authority, not the playwright, decides what the body on stage means.

That claim will make people uncomfortable. It is meant to. The surface justifications of blackface and non-traditional casting are opposite, one rooted in white supremacy, the other in racial justice, but the structural relationship between the performer’s body and the institution that governs the stage is identical. The body is canvas. The institution holds the brush. The playwright, in both systems, is irrelevant.

The book then turns to case studies that give the argument flesh. Samuel Beckett’s refusal to allow the American Repertory Theatre to cast women in Endgame in 1984, which established that a playwright’s stage directions are not suggestions but legally enforceable elements of the work. August Wilson’s 1996 address at the Theatre Communications Group conference, “The Ground on Which I Stand,” which declared that Black plays require Black directors and Black actors, and which remains the most important speech about race and the American stage delivered in the last half century. The casting of Hamilton and the 2022 revival of 1776, where color-conscious casting was deployed to reimagine the founding mythology of white America through non-white bodies, with radically different results. The removal of a white ASL interpreter from a performance of The Lion King because the actors on stage were Black, which raises a question the theatre has not answered: is an interpreter a performer or a conduit? Ali Stroker’s Tony-winning performance in Oklahoma!, which asks whether a wheelchair in a scene that depends on physical running is an artistic disruption or an artistic contribution, and who gets to decide. Eugene O’Neill’s Irish families, in which the ethnicity is not decoration but architecture, load-bearing walls that collapse if you remove them.

Each of these cases is examined at length, with sources documented and arguments presented with as much candor as I can bring to the page. I have tried to be fair. I have also tried to be honest. Where those two imperatives conflict, I chose honesty. That choice runs through the entire book, and it is the choice I have made in every professional decision since I founded The United Stage on the principle that the playwright has the right to direct the first public performance of the playwright’s own play.

I have been a dues-paying member of the Dramatists Guild of America since July 2, 1984, member number 45010, enrolled on the advice of a freshman playwriting teacher at the University of Nebraska-Lincoln who read the first one-act play I ever wrote and told me to join immediately. I did not understand at eighteen what that membership meant. I understand it now. The Guild was built to protect the playwright. Its Bill of Rights, maintained since the first Minimum Basic Agreement of 1926, affirms the playwright’s right to approve casting, the creative team, and production elements, to be present at rehearsals, to own the copyright, and to protect the integrity of the text. This book criticizes the Guild’s Inclusion Rider, and I want to be clear that the criticism is offered from within the Guild, by a member who has been paying dues without interruption for more than forty years, who believes in the Guild’s foundational mission, and who writes this book in its defense.

The book also benefits from the expertise of Janna Sweenie, my collaborator on American Sign Language educational materials, who contributed her knowledge of Deaf culture, interpreter ethics, and the NAD-RID Code of Professional Conduct to the chapter on the Lion King interpreter incident. The precision in that analysis is hers. The errors in the book are mine.

Miscast is not a book about inclusion. It is a book about authorship. The distinction matters more than any other distinction in the American theatre today, because every institution that promotes non-traditional casting claims to be expanding inclusion, and some of them are, but the mechanism by which they do it requires seizing creative authority from the person who created the work. That seizure is the subject of this book. That seizure is what I spent thirty years watching. That seizure is what I said no to in a rehearsal room at Columbia, and what I am saying no to now, in print, at full length, with documentation.

The playwright decides. That is the ground on which this book stands.

Miscast: Who Owns the Story on Stage? is available now from David Boles Books in Kindle eBook ($9.99), paperback ($16.99), and free PDF download. David Boles is a member of the Dramatists Guild, the Authors Guild, and PEN America. He holds an MFA from Columbia University and has been writing for the stage, for television, and for publication for more than four decades.

Miscast: The Playwright Decides, and No One Else Gets a Vote

There is a moment in the life of every playwright when someone walks into a rehearsal room and announces that the character you wrote is not, in fact, the character you wrote. The director has a vision. The institution has a policy. The casting committee has decided that your Irish Catholic mother from the Southside of Chicago would be better served by an actress who has no connection to the world you built because connection, in the current theatrical climate, is less important than representation, and representation is whatever the people who control the stage say it is. You sit there. You watch your play become someone else’s argument. And you have two choices: you can let it happen, or you can pull the production.

I pulled the production.

That story appears in Chapter 11 of Miscast: Who Owns the Story on Stage?, my new book, now available in eBook, paperback, and PDF from David Boles Books. The anecdote is from Columbia University, where I was earning my MFA, and where a director proposed splitting a single character in my play into bipolar twins under the banner of non-traditional casting. I said no. I cancelled the production. I lost the showcase. I kept the play. That was more than thirty years ago, and I have spent the time since thinking about what that moment meant, not just for me but for every playwright who has watched the American theatre transform casting from an artistic decision made by the author into an institutional mandate imposed over the author’s objection.

Miscast is the book that thinking produced.

The argument is simple. The playwright creates the characters. The playwright determines what the characters are. No institution has the right to override that determination. When Lin-Manuel Miranda casts actors of color as the Founding Fathers in Hamilton, that is authorial choice, and it is art. When an institution imposes non-traditional casting on a playwright’s work without the playwright’s knowledge or against the playwright’s wishes, that is something else entirely. It is expropriation. It is the seizure of creative authority from the person who did the creating. And it is now standard practice in the American theatre, codified in equity agreements, hiring mandates, and the Dramatists Guild’s own 2021 Inclusion Rider, the first contract addendum in theatre history that asks playwrights to redirect their copyright authority toward institutional demographic objectives.

That is a sentence worth reading twice.

The book traces the full arc. It begins with the all-male stages of fifth-century Athens, where Medea and Clytemnestra were performed by masked men in a civic festival that excluded women not because they lacked talent but because the stage was a function of democratic citizenship and women were not citizens. It moves through the Restoration revolution of 1660, when Charles II returned from French exile and issued a royal warrant requiring female roles to be performed by women, ending two thousand years of all-male convention in England overnight. It examines the blackface minstrelsy of the nineteenth century, which I argue is not the opposite of non-traditional casting but its structural cousin: both treat the actor’s body as raw material on which someone else’s vision is painted, the one through burnt cork, the other through institutional policy, with the same underlying assumption that the controlling authority, not the playwright, decides what the body on stage means.

That claim will make people uncomfortable. It is meant to. The surface justifications of blackface and non-traditional casting are opposite, one rooted in white supremacy, the other in racial justice, but the structural relationship between the performer’s body and the institution that governs the stage is identical. The body is canvas. The institution holds the brush. The playwright, in both systems, is irrelevant.

The book then turns to case studies that give the argument flesh. Samuel Beckett’s refusal to allow the American Repertory Theatre to cast women in Endgame in 1984, which established that a playwright’s stage directions are not suggestions but legally enforceable elements of the work. August Wilson’s 1996 address at the Theatre Communications Group conference, “The Ground on Which I Stand,” which declared that Black plays require Black directors and Black actors, and which remains the most important speech about race and the American stage delivered in the last half century. The casting of Hamilton and the 2022 revival of 1776, where color-conscious casting was deployed to reimagine the founding mythology of white America through non-white bodies, with radically different results. The removal of a white ASL interpreter from a performance of The Lion King because the actors on stage were Black, which raises a question the theatre has not answered: is an interpreter a performer or a conduit? Ali Stroker’s Tony-winning performance in Oklahoma!, which asks whether a wheelchair in a scene that depends on physical running is an artistic disruption or an artistic contribution, and who gets to decide. Eugene O’Neill’s Irish families, in which the ethnicity is not decoration but architecture, load-bearing walls that collapse if you remove them.

Each of these cases is examined at length, with sources documented and arguments presented with as much candor as I can bring to the page. I have tried to be fair. I have also tried to be honest. Where those two imperatives conflict, I chose honesty. That choice runs through the entire book, and it is the choice I have made in every professional decision since I founded The United Stage on the principle that the playwright has the right to direct the first public performance of the playwright’s own play.

I have been a dues-paying member of the Dramatists Guild of America since July 2, 1984, member number 45010, enrolled on the advice of a freshman playwriting teacher at the University of Nebraska-Lincoln who read the first one-act play I ever wrote and told me to join immediately. I did not understand at eighteen what that membership meant. I understand it now. The Guild was built to protect the playwright. Its Bill of Rights, maintained since the first Minimum Basic Agreement of 1926, affirms the playwright’s right to approve casting, the creative team, and production elements, to be present at rehearsals, to own the copyright, and to protect the integrity of the text. This book criticizes the Guild’s Inclusion Rider, and I want to be clear that the criticism is offered from within the Guild, by a member who has been paying dues without interruption for more than forty years, who believes in the Guild’s foundational mission, and who writes this book in its defense.

The book also benefits from the expertise of Janna Sweenie, my collaborator on American Sign Language educational materials, who contributed her knowledge of Deaf culture, interpreter ethics, and the NAD-RID Code of Professional Conduct to the chapter on the Lion King interpreter incident. The precision in that analysis is hers. The errors in the book are mine.

Miscast is not a book about inclusion. It is a book about authorship. The distinction matters more than any other distinction in the American theatre today, because every institution that promotes non-traditional casting claims to be expanding inclusion, and some of them are, but the mechanism by which they do it requires seizing creative authority from the person who created the work. That seizure is the subject of this book. That seizure is what I spent thirty years watching. That seizure is what I said no to in a rehearsal room at Columbia, and what I am saying no to now, in print, at full length, with documentation.

The playwright decides. That is the ground on which this book stands.

Miscast: Who Owns the Story on Stage? is available now from David Boles Books in Kindle eBook ($9.99), paperback ($16.99), and free PDF download. David Boles is a member of the Dramatists Guild, the Authors Guild, and PEN America. He holds an MFA from Columbia University and has been writing for the stage, for television, and for publication for more than four decades.

Miscast: The Playwright Decides, and No One Else Gets a Vote

There is a moment in the life of every playwright when someone walks into a rehearsal room and announces that the character you wrote is not, in fact, the character you wrote. The director has a vision. The institution has a policy. The casting committee has decided that your Irish Catholic mother from the Southside of Chicago would be better served by an actress who has no connection to the world you built because connection, in the current theatrical climate, is less important than representation, and representation is whatever the people who control the stage say it is. You sit there. You watch your play become someone else’s argument. And you have two choices: you can let it happen, or you can pull the production.

I pulled the production.

That story appears in Chapter 11 of Miscast: Who Owns the Story on Stage?, my new book, now available in eBook, paperback, and PDF from David Boles Books. The anecdote is from Columbia University, where I was earning my MFA, and where a director proposed splitting a single character in my play into bipolar twins under the banner of non-traditional casting. I said no. I cancelled the production. I lost the showcase. I kept the play. That was more than thirty years ago, and I have spent the time since thinking about what that moment meant, not just for me but for every playwright who has watched the American theatre transform casting from an artistic decision made by the author into an institutional mandate imposed over the author’s objection.

Miscast is the book that thinking produced.

The argument is simple. The playwright creates the characters. The playwright determines what the characters are. No institution has the right to override that determination. When Lin-Manuel Miranda casts actors of color as the Founding Fathers in Hamilton, that is authorial choice, and it is art. When an institution imposes non-traditional casting on a playwright’s work without the playwright’s knowledge or against the playwright’s wishes, that is something else entirely. It is expropriation. It is the seizure of creative authority from the person who did the creating. And it is now standard practice in the American theatre, codified in equity agreements, hiring mandates, and the Dramatists Guild’s own 2021 Inclusion Rider, the first contract addendum in theatre history that asks playwrights to redirect their copyright authority toward institutional demographic objectives.

That is a sentence worth reading twice.

The book traces the full arc. It begins with the all-male stages of fifth-century Athens, where Medea and Clytemnestra were performed by masked men in a civic festival that excluded women not because they lacked talent but because the stage was a function of democratic citizenship and women were not citizens. It moves through the Restoration revolution of 1660, when Charles II returned from French exile and issued a royal warrant requiring female roles to be performed by women, ending two thousand years of all-male convention in England overnight. It examines the blackface minstrelsy of the nineteenth century, which I argue is not the opposite of non-traditional casting but its structural cousin: both treat the actor’s body as raw material on which someone else’s vision is painted, the one through burnt cork, the other through institutional policy, with the same underlying assumption that the controlling authority, not the playwright, decides what the body on stage means.

That claim will make people uncomfortable. It is meant to. The surface justifications of blackface and non-traditional casting are opposite, one rooted in white supremacy, the other in racial justice, but the structural relationship between the performer’s body and the institution that governs the stage is identical. The body is canvas. The institution holds the brush. The playwright, in both systems, is irrelevant.

The book then turns to case studies that give the argument flesh. Samuel Beckett’s refusal to allow the American Repertory Theatre to cast women in Endgame in 1984, which established that a playwright’s stage directions are not suggestions but legally enforceable elements of the work. August Wilson’s 1996 address at the Theatre Communications Group conference, “The Ground on Which I Stand,” which declared that Black plays require Black directors and Black actors, and which remains the most important speech about race and the American stage delivered in the last half century. The casting of Hamilton and the 2022 revival of 1776, where color-conscious casting was deployed to reimagine the founding mythology of white America through non-white bodies, with radically different results. The removal of a white ASL interpreter from a performance of The Lion King because the actors on stage were Black, which raises a question the theatre has not answered: is an interpreter a performer or a conduit? Ali Stroker’s Tony-winning performance in Oklahoma!, which asks whether a wheelchair in a scene that depends on physical running is an artistic disruption or an artistic contribution, and who gets to decide. Eugene O’Neill’s Irish families, in which the ethnicity is not decoration but architecture, load-bearing walls that collapse if you remove them.

Each of these cases is examined at length, with sources documented and arguments presented with as much candor as I can bring to the page. I have tried to be fair. I have also tried to be honest. Where those two imperatives conflict, I chose honesty. That choice runs through the entire book, and it is the choice I have made in every professional decision since I founded The United Stage on the principle that the playwright has the right to direct the first public performance of the playwright’s own play.

I have been a dues-paying member of the Dramatists Guild of America since July 2, 1984, member number 45010, enrolled on the advice of a freshman playwriting teacher at the University of Nebraska-Lincoln who read the first one-act play I ever wrote and told me to join immediately. I did not understand at eighteen what that membership meant. I understand it now. The Guild was built to protect the playwright. Its Bill of Rights, maintained since the first Minimum Basic Agreement of 1926, affirms the playwright’s right to approve casting, the creative team, and production elements, to be present at rehearsals, to own the copyright, and to protect the integrity of the text. This book criticizes the Guild’s Inclusion Rider, and I want to be clear that the criticism is offered from within the Guild, by a member who has been paying dues without interruption for more than forty years, who believes in the Guild’s foundational mission, and who writes this book in its defense.

The book also benefits from the expertise of Janna Sweenie, my collaborator on American Sign Language educational materials, who contributed her knowledge of Deaf culture, interpreter ethics, and the NAD-RID Code of Professional Conduct to the chapter on the Lion King interpreter incident. The precision in that analysis is hers. The errors in the book are mine.

Miscast is not a book about inclusion. It is a book about authorship. The distinction matters more than any other distinction in the American theatre today, because every institution that promotes non-traditional casting claims to be expanding inclusion, and some of them are, but the mechanism by which they do it requires seizing creative authority from the person who created the work. That seizure is the subject of this book. That seizure is what I spent thirty years watching. That seizure is what I said no to in a rehearsal room at Columbia, and what I am saying no to now, in print, at full length, with documentation.

The playwright decides. That is the ground on which this book stands.

Miscast: Who Owns the Story on Stage? is available now from David Boles Books in Kindle eBook ($9.99), paperback ($16.99), and free PDF download. David Boles is a member of the Dramatists Guild, the Authors Guild, and PEN America. He holds an MFA from Columbia University and has been writing for the stage, for television, and for publication for more than four decades.

Miscast: The Playwright Decides, and No One Else Gets a Vote

There is a moment in the life of every playwright when someone walks into a rehearsal room and announces that the character you wrote is not, in fact, the character you wrote. The director has a vision. The institution has a policy. The casting committee has decided that your Irish Catholic mother from the Southside of Chicago would be better served by an actress who has no connection to the world you built because connection, in the current theatrical climate, is less important than representation, and representation is whatever the people who control the stage say it is. You sit there. You watch your play become someone else’s argument. And you have two choices: you can let it happen, or you can pull the production.

I pulled the production.

That story appears in Chapter 11 of Miscast: Who Owns the Story on Stage?, my new book, now available in eBook, paperback, and PDF from David Boles Books. The anecdote is from Columbia University, where I was earning my MFA, and where a director proposed splitting a single character in my play into bipolar twins under the banner of non-traditional casting. I said no. I cancelled the production. I lost the showcase. I kept the play. That was more than thirty years ago, and I have spent the time since thinking about what that moment meant, not just for me but for every playwright who has watched the American theatre transform casting from an artistic decision made by the author into an institutional mandate imposed over the author’s objection.

Miscast is the book that thinking produced.

The argument is simple. The playwright creates the characters. The playwright determines what the characters are. No institution has the right to override that determination. When Lin-Manuel Miranda casts actors of color as the Founding Fathers in Hamilton, that is authorial choice, and it is art. When an institution imposes non-traditional casting on a playwright’s work without the playwright’s knowledge or against the playwright’s wishes, that is something else entirely. It is expropriation. It is the seizure of creative authority from the person who did the creating. And it is now standard practice in the American theatre, codified in equity agreements, hiring mandates, and the Dramatists Guild’s own 2021 Inclusion Rider, the first contract addendum in theatre history that asks playwrights to redirect their copyright authority toward institutional demographic objectives.

That is a sentence worth reading twice.

The book traces the full arc. It begins with the all-male stages of fifth-century Athens, where Medea and Clytemnestra were performed by masked men in a civic festival that excluded women not because they lacked talent but because the stage was a function of democratic citizenship and women were not citizens. It moves through the Restoration revolution of 1660, when Charles II returned from French exile and issued a royal warrant requiring female roles to be performed by women, ending two thousand years of all-male convention in England overnight. It examines the blackface minstrelsy of the nineteenth century, which I argue is not the opposite of non-traditional casting but its structural cousin: both treat the actor’s body as raw material on which someone else’s vision is painted, the one through burnt cork, the other through institutional policy, with the same underlying assumption that the controlling authority, not the playwright, decides what the body on stage means.

That claim will make people uncomfortable. It is meant to. The surface justifications of blackface and non-traditional casting are opposite, one rooted in white supremacy, the other in racial justice, but the structural relationship between the performer’s body and the institution that governs the stage is identical. The body is canvas. The institution holds the brush. The playwright, in both systems, is irrelevant.

The book then turns to case studies that give the argument flesh. Samuel Beckett’s refusal to allow the American Repertory Theatre to cast women in Endgame in 1984, which established that a playwright’s stage directions are not suggestions but legally enforceable elements of the work. August Wilson’s 1996 address at the Theatre Communications Group conference, “The Ground on Which I Stand,” which declared that Black plays require Black directors and Black actors, and which remains the most important speech about race and the American stage delivered in the last half century. The casting of Hamilton and the 2022 revival of 1776, where color-conscious casting was deployed to reimagine the founding mythology of white America through non-white bodies, with radically different results. The removal of a white ASL interpreter from a performance of The Lion King because the actors on stage were Black, which raises a question the theatre has not answered: is an interpreter a performer or a conduit? Ali Stroker’s Tony-winning performance in Oklahoma!, which asks whether a wheelchair in a scene that depends on physical running is an artistic disruption or an artistic contribution, and who gets to decide. Eugene O’Neill’s Irish families, in which the ethnicity is not decoration but architecture, load-bearing walls that collapse if you remove them.

Each of these cases is examined at length, with sources documented and arguments presented with as much candor as I can bring to the page. I have tried to be fair. I have also tried to be honest. Where those two imperatives conflict, I chose honesty. That choice runs through the entire book, and it is the choice I have made in every professional decision since I founded The United Stage on the principle that the playwright has the right to direct the first public performance of the playwright’s own play.

I have been a dues-paying member of the Dramatists Guild of America since July 2, 1984, member number 45010, enrolled on the advice of a freshman playwriting teacher at the University of Nebraska-Lincoln who read the first one-act play I ever wrote and told me to join immediately. I did not understand at eighteen what that membership meant. I understand it now. The Guild was built to protect the playwright. Its Bill of Rights, maintained since the first Minimum Basic Agreement of 1926, affirms the playwright’s right to approve casting, the creative team, and production elements, to be present at rehearsals, to own the copyright, and to protect the integrity of the text. This book criticizes the Guild’s Inclusion Rider, and I want to be clear that the criticism is offered from within the Guild, by a member who has been paying dues without interruption for more than forty years, who believes in the Guild’s foundational mission, and who writes this book in its defense.

The book also benefits from the expertise of Janna Sweenie, my collaborator on American Sign Language educational materials, who contributed her knowledge of Deaf culture, interpreter ethics, and the NAD-RID Code of Professional Conduct to the chapter on the Lion King interpreter incident. The precision in that analysis is hers. The errors in the book are mine.

Miscast is not a book about inclusion. It is a book about authorship. The distinction matters more than any other distinction in the American theatre today, because every institution that promotes non-traditional casting claims to be expanding inclusion, and some of them are, but the mechanism by which they do it requires seizing creative authority from the person who created the work. That seizure is the subject of this book. That seizure is what I spent thirty years watching. That seizure is what I said no to in a rehearsal room at Columbia, and what I am saying no to now, in print, at full length, with documentation.

The playwright decides. That is the ground on which this book stands.

Miscast: Who Owns the Story on Stage? is available now from David Boles Books in Kindle eBook ($9.99), paperback ($16.99), and free PDF download. David Boles is a member of the Dramatists Guild, the Authors Guild, and PEN America. He holds an MFA from Columbia University and has been writing for the stage, for television, and for publication for more than four decades.

First day of school…as a full professor! :woohoo: (rare selfie) Psychonaut gear for the provost’s professional development event this afternoon. #academia #cuny

New #openaccess publication #SciPost #Physics Community Reports

State-of-the-art cross sections for t tbar H: NNLO predictions matched with NNLL resummation and EW corrections

Roger Balsach et al.
SciPost Phys. Comm. Rep. 10 (2025)
https://scipost.org/SciPostPhysCommRep.10

#WWU #ViennaUniversity #GhentUniversity #CUNY #LundUniversity #UZH #PSI #JagiellonianUniversity #INFNBologna #DurhamUniversity #TUM #RWTH #UNIMI #INFNMilano

Send a letter from #PSC_CUNY demanding that #BrooklynCollege reinstate four adjuncts dismissed in an apparent ideological purge. No to the New McCarthyism. #BCFired4 #CUNY https://psc-cuny.org/issues/reinstate-the-fired-four-at-brooklyn-college/

"In a move that activists are saying is an attempt to quell the passionate student and worker movement for Palestinian liberation within the City University of New York (CUNY), student organizer Hadeeqa Arzoo Malik has been suspended for a year.

"Along with CCNY’s academic sanction case against Malik, CUNY has also fired four faculty members."

https://mondoweiss.net/2025/07/cuny-suspends-student-activist-leader-fires-four-faculty-members-in-escalation-of-repression-against-palestine-activism/

@palestine #Palestine #Israel #Gaza #CUNY #NYC #NewYork #education #academia

Update. See the progress toward a Mutual Academic Defense Compact (#MADC) from the 25 colleges making up the City University of New York (#CUNY).

#Academia #Universities #Trump #USPol #USPolitics
@academicchatter

Update. See the progress toward a Mutual Academic Defense Compact (#MADC) from the 25 colleges making up the City University of New York (#CUNY).

#Academia #Universities #Trump #USPol #USPolitics
@academicchatter

Update. See the progress toward a Mutual Academic Defense Compact (#MADC) from the 25 colleges making up the City University of New York (#CUNY).

#Academia #Universities #Trump #USPol #USPolitics
@academicchatter

Update. See the progress toward a Mutual Academic Defense Compact (#MADC) from the 25 colleges making up the City University of New York (#CUNY).

#Academia #Universities #Trump #USPol #USPolitics
@academicchatter

Update. See the progress toward a Mutual Academic Defense Compact (#MADC) from the 25 colleges making up the City University of New York (#CUNY).

#Academia #Universities #Trump #USPol #USPolitics
@academicchatter

Inside Higher Ed: ‘Nonsense Detectives’ Give Academic Resources New Life Online. “As of last month, Wikipedia now contains a lengthy article on travel training that [Patrick] McGee helped write, using—and citing—numerous primary sources in CUNY’s archives as part of an initiative led by Richard Knipel, who started in March as the City University of New York’s first Wikimedian in […]

https://rbfirehose.com/2025/05/16/inside-higher-ed-nonsense-detectives-give-academic-resources-new-life-online/

La #réflexion #temporele , phénomène dans lequel ce n’est pas la direction qui change, mais le #déroulement du #temps lui-même. 

Autrefois purement #théorique, ce phénomène viét d'être observé pour la première fois , par des #chercheurs du #CUNY Graduate Center à #NewYork

Des #applications révolutionnaires : Les #signaux #électromagnétiques pourraient être transmis de manière plus rapide et plus sécurisée (furtivité et capteurs ultrasensibles)

https://newsly.fr/2025/05/13/le-temps-peut-se-refleter-des-scientifiques-valident-un-phenomene-que-lon-croyait-impossible-dans-le-monde-physique/

Burnin set by the Randy Brecker Quintet on campus tonight, to close out the CUNY Jazz Festival, just 🔥 #ccny #cuny #Jazz

#CUNY ’s Research on #Vaccine Misinformation Halted by #Trump Administration https://www.thecity.nyc/2025/04/24/cuny-layoffs-vaccine-research-funding-cuts-misinformation-trump/

#JeanLucMélenchon est intervenu à l'occasion d'une conférence à l'université de la ville de New York (#CUNY) pour la sortie de « #NowThePeople », le 21 avril 2025.

https://youtu.be/5Ivf71fXJSo

#JLM #Mélenchon #gaucheFrançaise #FrenchLeft #politiqueFrançaise #FrenchPolitics #théoriePolitique #théorieSociale #politicalTheory #socialTheory #mouvementsSociaux #socialMovements #LFI #LaFranceInsoumise #FranceUnbowed #livres #books @bookstodon @MusiqueNow

#FreeSpeech #OccupiedPalestine #CUNY

"CUNY Posts Modified Palestinian Studies Jobs After Gov’s Removal Order

New faculty position listing no longer references 'settler colonialism, genocide and apartheid' after Gov. Kathy Hochul directed Hunter College to remove the post 'to ensure that antisemitic theories are not promoted in the classroom."

https://www.thecity.nyc/2025/03/25/palestinian-studies-cuny-hunter-college-jobs-post/

Une nouvelle résidence Wikimédia dans une université ! https://www.cuny.edu/news/cuny-introduces-its-first-wikimedian-in-residence/ #CUNY #CraigNewmark #Wikimedia

Do Greencard Holders have Constitutional Rights?

TL;DR - Yes. Despite #MAGA claims.

But if you need the receipts...

#FreeMahmoudKhalil #SCOTUS #ColumbiaUniversity #CUNY

https://morewretchthansage.substack.com/p/who-the-people-do-greencard-holders

Snap resharing an applied #causal paper... with a #CUNY setting? By Athey? Just gonna shoehorn the time to read this in somewhere: https://doi.org/10.1016/j.jeconom.2024.105945

happy to see that the author of this excellent dissertation on the pedagogical politics of Audre Lorde, Adrienne Rich and others has successfully turned it into a book! https://www.gc.cuny.edu/news/lessons-cunys-famous-poet-professors #cuny

Awesome time at #NYC's Research on the Road! Apparently, the city does keep track of research - and the work at #CUNY informs public policy!

Lots of #transportation researchers and policymakers were there - keep an eye out for next year.
https://www.nyc.gov/html/dot/html/pr2024/vision-zero-research-award.shtml

If anyone has contact with somebody at The Feminist Press #cuny, please alert them that their domain name is about to expire! https://www.feministpress.org/

EL CENTRO, Center for Puerto Rican Studies at #CUNY Hunter College also has an infographic PDF for Florida:
https://centropr.hunter.cuny.edu/app/uploads/2023/01/InDesign-Infographics_FL_PR.pdf

am including the image of the PDF linked here

notice how most of the Puerto Rican population in Florida live in the path of #HurricaneHelene and #HurricaneMilton.

most of them moved there after #HurricaneMaria devastated La Isla.

#MastodonPR #2024Elections

BTW: from #CUNY Hunter College's Centro de Estudios Puertorriqueños, as of 2021 there were more than 460,000 Puerto Ricans living in Pennsylvania.

am including an image of the infographic PDF linked here:
https://centropr.hunter.cuny.edu/app/uploads/2023/01/Infographics_PA_PRicans.pdf

#MastodonPR #2024Elections

CUNY officials continue to stonewall #psc_cuny staff on pay raises, escalating to 30 arrests today at the John Jay protest.

Deeply frustrating how #CUNY touts its role in economic mobility for the city while forcing staff to scrap by.

https://thechiefleader.com/stories/cuny-faculty-arrested-during-contract-rally,53284?=

"Discussion of #Israel and #Palestine has long fallen into a special category. Some have called it 'the Palestine exception to #FreeSpeech.' #BrooklynCollege, like other universities, has weathered many controversies in this area." - #MashaGessen

https://www.nytimes.com/2024/09/14/opinion/brooklyn-college-jewish-currents-gaza-war.html?unlocked_article_code=1.K04.U_kS.VD_aEd7NIv85&smid=url-share
#censorship #CUNY #FreeSpeechOnCampus #PalestineSolidarity #GazaSolidarity #Gaza #JewishCurrents #USpol #USpolitics @palestine

Next week at the club having lunch: 
Gil (scraggly, flip flops): you can’t afford me
Mel: well, what do you need?
Gil: my guys get $25 each a night
Mel: (does quick math, $300) what about you?
Gil: I get twice that, $50
Mel: what if I guarantee $350 a night, plus you get 80% of the door?
Gil plays the next Monday, 3 sets in those days (10p, 11:30p, 1a), makes $1500 with lines down the block, becomes the Monday night from then on. Love it!
(3/3) #ccny #cuny #jazz

Mel ran into Gil on the checkout line at the neighborhood grocery store
Mel: Gil Evans?
Gil (scraggly, flip flops): who are you?
Mel: I own a local jazz club, you ever think about playing?
Gil: you can’t afford me.
Mel: why don’t you come for lunch and we’ll talk, figure out what you want.
Gil: (reluctantly agrees)
(2/3) #ccny #cuny #jazz

Great afternoon in the music department, hosting Mel Litoff, former owner of the Sweet Basil Jazz Club, and sponsor of our Sweet Basil Jazz scholarships. Fun personal anecdotes about legends from Art Blakey to Sun Ra, but the best was about securing Gil Evans as the Monday houseband at the club. (1/?) #ccny #cuny #jazz

@jchyip

“The City University of New York bypassed its spending approval process to okay a contract worth up to $4 million with an ex-#NYPD sergeant's private security company that boasts of receiving training in Israel, tagged its announcement of the university deal with "#StopTheSteal" and described the student-led protests as engaged in guerrilla warfare.”

#nyc #StudentProtests

#CCNY / #CUNY voluntarily cut its education budget by an extra 10% to fund ex-cops.

https://comptroller.nyc.gov/reports/cuts-to-cuny/

https://www.youtube.com/watch?v=_0c2oE6ZD1E&pp=ygUNZGVtb2NyYWN5IG5vdw%3D%3D

#DemocracyNow

#DropTheCharges : Dmands for #CUNY to #Divest

#FreePalestine🇵🇸 #SupportStudentsAndFacultyforPalestine

It is crazy to think the things we'd be believing if not for WKCR. The live broadcast is so valuable.

https://wkcr.streamguys1.com/live

#Palestine #ColumbiaUniversity #Columbia #NewYork #CCNY #CUNY

"NYC's Public University Gets a Gaza Solidarity Encampment - Hell Gate"
https://hellgatenyc.com/city-college-gaza-encampment

#NYC #StudentSpring #CUNY #CCNY

https://www.youtube.com/watch?v=JUaSl1zgpO8

🔴 #LIVE NOW #PROPALESTINIANPROTEST #ColumbiaUniversity and #CUNY

#NYC #NEWYORKCITY #PressConference #SupportStudentsAndFacultyforPalestine 🇵🇸 #FreePalestine🇵🇸

Have you ever wondered who #HostosCollege is named after? Or other #CityUniversityofNewYork colleges like #baruchcollege, #Hunter College, #MedgerEversCollege, #Lehman College and more? Why do #QueensCollege #CollegeofStatenIsland #BrooklynCollege have geographic names?

CUNY is now part part of my ever-expanding #NamingGotham project. #PSC_CUNY #cuny #history #NamingGotham #FreeCUNY #LehmanCollege #CUNYLaw #historymatters #nyc #NewYork #histodons

https://psc-cuny.org/clarion/2023/july/whats-in-a-name-lots/

It's been a while since I've done a #ConnectionList #Introduction #FollowFriday post, where I use my large follower count to more richly connect us, so here's some folx you might like to follow on the #Fediverse :fediverse:

@Rushkoff writes books about #media, #technology and #society and is #Professor of Media Theory and #digital #economics at #CUNY #Queens, and works with the #IFTF

@FAccT is the @ACM conference on #fairness, #accountability and #transparency primarily in #MachineLearning and #ArtificalIntelligence.

@drclaireh is a #corpus #linguist specialising in deception, manipulation and agression online.

@mucephie is June Parsons and they are into #astrophysics at @yorkuniversity - author of dorado.py for observatory #data 🐍

@eirliani is a Doctoral #PhD student at #Harvard and is into #DataScience and #HumanRights

@pyconau is the official #PyconAU conference account #pycon #python 🐍

@jadedarko is passionate about the #environment and #SocialJustice and she is a full-time #Python and #Django #dev

That's all for today, don't forget to share your own #ConnectionList so we can connect the :fediverse: more richly ❤️