International casting getting out of hand?
- May 21, 2016 at 10:02 am #107031
While I think most people assumed we’d get an imported Genie for ‘Aladdin’ and Lola for ‘Kinky Boots’ – I find it very hard to believe that there was no suitable Jasmine to be found locally. As for ‘The Book Of Mormon’ – bringing in a US Elder Price/Cunningham is what they did in the West End – so no surprises there. However they could very well have cast those to roles here as well.
It’ll be interesting to see who gets the role of Carole King in ‘Beautiful’ – at this rate I’m doubting it’ll be someone local. Let alone ‘Hamilton’ if/when it happens…
October 14, 2017 at 2:19 am #116803
- This topic was modified 1 year, 11 months ago by thatsnotmypuppy.
Hi there thatsnotmypuppy,
It’s a truly interesting point you raise, and definitely one that Australian theatre needs to engage in more on the whole. There are many pros and cons for bringing in international acts to headline big-name shows.
Namely, it brings in people to see the show. This is one of the reasons Hollywood continues to cast famous actors – once people hear that someone they know and/or like is in a movie, they are more likely to go and see it. Having international imports is like this. They’re good publicity for the show, and provide credibility for the cast itself.
That being said, where would we be without discovering great Australian talent? It’s so important to nurture what we have here and without new faces on the scene, things will start to stagnate.
I personally would love some indigenous representation in a version of ‘Hamilton’ (if it ever arrives) in the same vein as people of colour in the American version.
Also – how great is it that we got an Australian face for Carole King in Beautiful? Esther Hannaford is doing a fantastic job and I’d love for an Australia-wide tour so we get some of her talent over in Perth.October 19, 2017 at 2:52 pm #116849
While I agree with your sentiment – it has to be a two-way street. It would be terrific to see our local talent cast in first-run run roles – some of these shows are produced under contractual arrangements. Don’t forget many Australian performers are being cast on the West End and Broadway productions.
What annoys me is the lack of investment in local talent and the opportunity to tour this talent into regional audiences. Recently, there was a national tour of a musical revue that featured unknown West End performers. This tour was presented at a number of regional and metropolitan centres across Australia. There was nothing stopping this show being presented with a local cast – and offering Australian audiences to see the next wave of Australian musical talent.
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