An open letter to the Rob Guest Endowment team,

May this message find you safe and strong mentally and physically in this taxing year. So much has already been said on the selection of the 30 incredibly talented young people who make up the cohort of semi-finalists this year. I echo the sentiments of other respondents that none of their efforts and talents should be overlooked. Congratulations to all - it’s no small feat to muster up the strength and courage to prepare for one of the biggest auditions of your life in a year with so much uncertainty.

However, I am saddened by the cliched responses and lack of ownership by the team on the lack of diversity amongst the nominees. It’s not enough to say “We tried, we’re striving, we’ll work harder next time” and leave it at that. It’s time for action. It’s time to lay out a path forward. It’s time to move Australia forward into the realm of today’s musical theatre - colour conscious, aware and active, promoting equity and equality on and off the stage. From the correspondence and statements I’ve seen posted over the last 24 hours, in addition to my own very lengthy and thorough conversations with members of the executive committee, I believe you want the best for the future of Australian theatre as well as the celebration of the legacy of Rob Guest. I'm glad to hear you're seeking ways to inject thinking. But I know you can do better than think - you have the power, access and means to ACT. It is with that knowledge and immense respect that I pen this letter in hopes that it starts conversation, sparks change, and encourages you to take leadership in bringing the industry to a new standard.

The industry must take responsibility for the lack of diversity. This is not the fault of the schools, the agents, and most certainly, not the people who are under represented. We need to immediately and aggressively reject the notion that if “they don’t show up, it’s not our fault.” Let’s take on the responsibility and then do something. The passive mentality doesn’t serve our industry, our audiences or our stories. Let’s be better.

Theatre must be made accessible for all people. As an endowment focussed on building and maintaining a community of artists, I implore you to stand strong and demand more of yourself and the industry you support.

Here is a short list of considerations followed by action items I would present to you - I’d love to see the Rob Guest Endowment lead the sector to a new, higher standard of inclusive practices in our industry.

• I do not encourage the use of quotas to fill spots, however in this case, recording the data allows you to use the data. If you don’t “see colour” you can’t fix your problem with colour. By auditing your auditions and asking performers to self-identify, you will likely find that certain ethnic groups have access to agents, tertiary education programs, teachers, etc. which are unavailable to others. While the reasons may vary, I suspect you might find that casting a broader net in your initial marketing may result in increased demographics.
• Consider your audience and find ways to increase your reach. If the agents and schools are primarily representing white people, who do you think you’re going to get? It’s your responsibility, and yours alone, to find the audience you seek.
• Looking at the number of musicals slated to run across Australia’s commercial theatre seasons and looking back over the last few years, the percentage of roles that are explicitly or implicitly for a person of colour is rising. The stage will continue to evolve and it’s up to us to decide if we want more Aussies on stage authentically telling these stories, or to continue to import actors as a sole solution to produce these shows.
• Take ownership and apologize. One of the hardest parts about getting a breakthrough in the inclusion space is overcoming the mental hurdle that I’m a bad person / we’re a bad team if I get it wrong. The RGE has done so much good and given opportunity to some very deserving individuals over the years. Acknowledging this misstep doesn’t undo any of that. It sets a standard in the industry that when we know better, we’re going to acknowledge our complicity in the situation and do better.
• Broaden your circle of influence. There are some amazing theatre companies around the city doing excellent work for young artists. I’m sure you know of them - they’re the same ones who are tapped again and again when we’re looking for “ethnic casting.” Go beyond seeing their work, talk to their organisers, understand the barriers that exist for their students to get to you, lean into their knowledge and cultural safety practices to invite all people into the future of Australian theatre - not just the ones who can afford the price of the ticket.
• Make the opportunities happen. If there really are absolutely no people of colour that are at a level of talent to be considered, who better to take a step toward equity. Could you create a separate opportunity for BIPOC artists? Work with a commercial producer to subsidize an apprenticeship for a musician or crew member? Reserve a portion of the funds to be used toward continuing education for young artists without access here in Australia? If there is a hole in the industry, we can’t be whole until it’s filled.

Action Items:

• Acknowledge and accept responsibility without justification.
• Diversify your panel.
• Connect with at least 3 youth theatre organizations who primarily focus on either people of colour, neurodiverse artists, or artists who live with disablity. Offer resources in exchange for learning new practices to engage.
• Partner with an organization like Stage a Change to provide panel discussions and open access for underserved aspiring artists and the families supporting these artists.
• Create a system and space that is welcoming for POC. Make it clear that your talent and technique is not defined or equated to standards rooted in whiteness.
• Record and monitor the ethnic makeup of the submissions you receive. Ask people to self-identify . These nominations can be a separate from, not connected to their actual audition. Use this data to inform your practice.
• Begin work on a funding opportunity that will address emerging artists of colour.

Stage A Change is happy to consult with you as you work to be the leader in the industry. I believe you want a more diverse landscape. I have faith that you know that it will take work, but the work will be worth the reward. I can sense that you have the same vision of an Australian theatre landscape that is as welcoming and diverse as others globally.