Theatre is supposed to reflect society, challenge and change but how can it do that when its programming doesn't fully embrace the full gamut of ethnicity, sexual orientation and balance of gender?
The Edinburgh Fringe: It was a blast, bonkers, a baptism, friendly, sometimes frantic and lots of fun. But all good things come to an end and since getting home I've had time to reflect on everything I've seen and experienced.
Fringe theatre has always felt like the true stomping ground for more varied and diverse programming and so it is with the Edinburgh Fringe – definitely less white and middle-class-centric.
Audiences were more diverse in age-range too, no sitting in a predominantly middle-aged audience.
Dearth of BAME theatre
But where Edinburgh has a reasonably good offering of female-centric and LGBT theatre it has a dearth of BAME – something that was also reflected in those watching.
One of my Edinburgh housemates and a Fringe regular, @ShakespeareanLK, commented on how white the Fringe still is and she's right.
Two of my favourite plays were Queens of Sheba and The Fishermen (both won much-deserved Fringe awards).
Curious about the world at large
They were on my list to see because I crave diversity in narrative and story – I'm curious about the world at large, interested in different human experiences not just those of white people and white British people.
Theatre is supposed to reflect society, challenge and change but how can it do that when its programming doesn't fully embrace the full gamut of ethnicity, sexual orientation and balance of gender?
Colour blind casting not enough
I'm not talking about colour blind casting and gender swapping roles, I'm talking about the plays themselves, the stories, the themes, the context.
Does theatre truly reflect British society – gender, ethnicity, class etc. or is there hypocrisy at play?
On the big screen, there has been a swathe of blockbusters exploding the myth that female and black leads don't sell cinema tickets. What is theatreland's excuse?
One of the things I really loved about Edinburgh was its more varied programming but there is still plenty of room for improvement and London could learn some lessons too.
Update: Since writing this Victoria Sadler has published her annual research into the representation of female playwrights in London's major theatres which makes for an interesting – and depressing read.
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