Molly Hagan on Theater and Mutual Aid

If there were ever a field that should build solidarity but doesn’t, theater would be it. Playwrights are encouraged to compete for the privilege of association. Our bios are lists of institutions from which we borrow value; each name grants you permission to call yourself an artist. The structure of the industry invites exploitation and mistreatment. It limits the art we choose to make, as well as our relationships to one another.
Each insular world—no matter how small or seemingly insignificant—is beholden to the larger one, and reinforces the injustices that shape it. Last summer, hundreds of people pointed out the obvious: the theater world is systemically racist. Theaters scrambled to respond, and continue to come up short, as they tend to believe that a diverse staff and a diverse roster of plays are an end in itself. If this were true, We See You White American Theater would have a list of demands that is less than 30 pages long. These demands paint a pretty extraordinary picture of racism, exclusion and exploitation, but alongside it appears a tantalizing negative image. For me, it begs the question: Why are we asking institutions to be less racist, less sexist, less ableist, less greedy, instead of building the kind of inclusive structures we actually want?
Read alum Molly Hagan’s full essay on Theater and “mutual aid” here.