(Re)Setting the Stage Bibliography

This bibliography is a work-in-progress. If you’d like to recommend additional sources, please feel free to add them to our working document here.

Accetta, Valerie. “Muddy Waters: The Complexities of Casting a Musical about Race.” Studies in Musical Theatre, vol. 7, no. 3, 2013, pp. 351–358., doi:10.1386/smt.7.3.351_1.

Akbar, Arifa. “I’m not saying Shakespeare is an anti-black racist. But… the festival tackling an incendiary issue.” The Guardian 27 Oct. 2022.

Banks, Daniel. “The Welcome Table : Casting for an Integrated Society.” Theatre Topics, vol. 23 no. 1, 2013, p. 1-18. Project MUSE, doi:10.1353/tt.2013.0011.

Barrie, Eva. “Words Have Weight (Unless You’ve Never Had to Carry That Weight): The White Lens in Theatre.” Canadian Theatre Review, vol. 186, Apr. 2021, pp. 35–38, doi:10.3138/ctr.186.007. 

Cook, Amy. Building Character: The Art and Science of Casting. University of Michigan Press, 2018.

Cook, Amy. Shakespearean Futures: Casting the Bodies of Tomorrow on Shakespeare’s Stages Today. Cambridge University Press, 2020.

Conlogue, Ray. “Non-White Actors Challenge Traditions of Mainstream Theatre Color-Blind Casting Slow to Catch on among Canadian Companies.” The Globe and Mail, Mar 25, 1989.

Cope, Virginia H. “A Multiethnic Streetcar Named Desire: We’ve Had This Date from the Beginning.” Modern Drama, vol. 57, no. 4, Winter 2014, pp. 493–512.

Dave, Shilpa S.. Indian Accents: Brown Voice and Racial Performance in American Television and Film, University of Illinois Press, 2013.

Davis, Clinton Turner. “Non-Traditional Casting (an Open Letter).” African American Review, vol. 31, no. 4, 1997, pp. 591–594. 

Deboo, Ana. “The Non-Traditional Casting Project Continues into the ’90s.” TDR (1988-), vol. 34, no. 4, 1990, pp. 188–191.

Derr, Holly L., et al. “Identity-Conscious Casting.” HowlRound Theatre Commons, 2 Feb. 2021.

Diane, Ciara. “When the Students Have Notes for the Teachers.” AMERICAN THEATRE, 21 June 2021.

Duffly, Catherine Ming T’ien. “Campus Protests, Casting, and Institutionalized Violence: The Unique Role of the Theatre Department in Institutions of Higher Education.” Theatre Survey (Sept. 2016): 395-97.DOI:

Famurewa, Jim. “John Boyega: ‘I’m the only cast member whose experience of Star Wars was based on race.” GQ 2 September 2020.

Frank, Jason P. “1776’s Sara Porkalob Has Some Notes.” 14. Oct. 2022.

Fricker, Karen. “Critics Who Aren’t Indigenous, Black or People of Colour Aren’t Invited to ‘Bug.’ Yolanda Bonnell Explains Why.” Toronto Star., 11 Feb. 2020. 

Gans, Andrew. “The Phantom of the Opera, Starring Killian Donnelly and Lucy St. Louis, Reopens in London July 27.” Playbill, PLAYBILL INC., 27 July 2021.

Gelb, Hal. “Should Equal Opportunity Apply on the Stage?: Equal Opportunity Onstage.” New York Times (1923-Current file), Aug 28, 1988, pp. 2.

Gill, Glenda E. “Canada Lee: Black Actor in Non-Traditional Roles.” Journal of Popular Culture, vol. 25, no. 3, 1991, pp. 79. ProQuest,

Jadhwani, Lavina. “Color-Conscious Casting: Three Questions to Ask.” Howlround, 21 Dec. 2014. Accessed 27 June 2021.

Kaplan, Jon. “Casting conventions have ghettoized non-white actors, but now the rules are being re-written by a ‘colour-blind’ version of a Noel Coward Classic.” NOW Magazine. February 9, 1989.

Knowles, Ric. Performing the Intercultural City. Ann Arbor: University of Michigan Press, 2017.

Knowles, Ric. Theatre & Interculturalism. Palgrave Macmillan, 2010. 

Larkin, Daniel. “Shakespeare in the Park with an All-Black Cast Is Still Played Out.” Hyperallergic, 14 Sept. 2021.

Lewis, Amanda E., Mark Chesler, and Tyrone A. Forman. “The Impact of “Colorblind” Ideologies on Students of Color: Intergroup Relations at a Predominantly White University.” The Journal of Negro Education, vol. 69, no. 1, 2000, pp. 74-91. ProQuest.

Marilo Nuñez; An Open Letter to the Artist as a Young Woman or Man; Or, Why We Need to Talk about Race:

Mietkiewicz, Henry. Toronto S. “Theatres Casting for a Change: [SA2 Edition].” Toronto Star, Mar 18, 1989, pp. F3.

Mikhaiel, Yasmin Zacaria. “One Way to Stop Whitewashing: It’s Got to Be Taught.” AMERICAN THEATRE, 21 June 2021.

Newman, Harry. “Casting a Doubt: The Legal Issues of Nontraditional Casting.” The Journal of Arts, Management and Law, vol. 19, no. 2, 1989, pp. 55. ProQuest.

Newman, Harry. “Holding Back: The Theatre’s Resistance to Non-Traditional Casting.” TDR (1988-), vol. 33, no. 3, 1989, pp. 22–36. JSTOR, Accessed 17 Dec. 2020.

Nothof, Anne. “Representations of the Self and the Other in Canadian Intercultural Theatre.” Selves and Subjectivities: Reflections on Canadian Arts and Culture (2012): 1-12.

Parham, Jason. “TikTok and the Evolution of Digital Blackface.” Wired, Conde Nast, 4 Aug. 2020.

Pavis, Patrice. “Intercultural Theatre today (2010).” Forum Modernes Theater, vol. 25 no. 1, 2010, p. 5-15. Project MUSE, doi:10.1353/fmt.2010.0009

Quan, Douglas. “How a ‘Schitt’s Creek’ Character Stirred Debate about Actors Faking Accents and Hollywood’s Diversity.”, 29 Dec. 2020, .

Reed, Ishmael. Introduction. The Haunting of Lin-Manuel Miranda, by Reed, Archway, 2020.

Regé-Jean Page on Bridgerton: ‘We’re Seeing This Regency Romance through a Feminist Lens’.” The Guardian, Guardian News and Media, 17 Dec. 2020.

Rogers, Jami. “The Shakespearean Glass Ceiling: the State of Colorblind Casting in Contemporary British Theatre.” Shakespeare Bulletin, vol. 31, no. 3, 2013, pp. 405–430. 

Sherwood, Harriet. “There’s a truth to it: RSC casts disabled actor as Richard III.” Guardian. 22 Feb. 2022,

The Secret Life of Canada, “What’s the Deal with Blackface,” CBC Podcasts.

Thompson, Cheryl, and Emilie Jabouin. “Blackface in the Kodak Archive, Ryerson’s Special Collections: Context for Reading Racist Images.” Library.Ryerson Sept. 2020

Turner, Valerie Sing. “The Danger of a Single Story.” Canadian Theatre Review, vol. 165, 2016, pp. 20–25.,

Schechner, Richard. “Race Free, Gender Free, Body-Type Free, Age Free Casting.” TDR (1988-), vol. 33, no. 1, 1989, pp. 4–12. Accessed 5 June 2021.

Sumi, Glenn, and Jon Kaplan. “Tomson Highway Believes Controversy Is Good for Art.” NOW Magazine, 15 July 2021.

Syler, Claire. “Introduction.” Casting a Movement: The Welcome Table Initiativeedited by Claire Syler, Daniel Banks, Routledge, 2019, pp. 4-11.

Wagner, Vit. Toronto S. “Black Actor Cast to Play Noel Coward Role: [FIN Edition].” Toronto Star, Feb 10, 1989, pp. E16. ProQuest,

Warner, Kristin J. “In the Time of Plastic Representation,” Film Quarterly 71.2 (Winter 2017).

Ward, Douglas Turner. “For Whites Only?” AMERICAN THEATRE, 25 Feb. 2021.

Yoon, J. (1992). Brenda Kamino and Dirk McLean, eds. Talent Over Tradition: A Transcript of the First National Symposium on Non-Traditional Casting. Theatre Research in Canada / Recherches théâtrales Au Canada, 13(1). Retrieved from  

Glossary Bibliography

“About” Black Out,

“About.” We See You W.A.T, ​​2020,

“About Us.” The BIPOC Project,

Akin, Philip. “Culturally Specific Theatre Groups Help Give Artists a Voice.”, 8 Mar. 2022,

Amin, Shaan. “Making Fun of How South Asians Talk: A History.” The Atlantic, 2 Feb. 2018,

Amirkhani, Yasmine and Liam Lockhart-Rush. “Slideshow: Culturally Specific Theatre Companies.” Canadian Theatre Review, vol. 193, Winter 2023, Online Feature. In Press.

Bagalini, Adwoa. “Colourism: How Skin-Tone Bias Affects Racial Equality at Work.” World Economic Forum, 26 Aug. 2020,

Bemrose, John. “A ‘Gender-Blind’ ‘King Lear’ Features a Woman in the Title Role.” Maclean’s, vol. 108, no. 14, 3 Apr. 1995, pp. 65. ProQuest,

Bennett, Mary. “IBPOC Caucus: What’s in a Name?” Vancouver Unitarians, 30 June 2021,

Bennetts, Leslie. “Taking Fresh Look at Casting.” The New York Times, 19 Nov. 1986,

Berlin, Sadie. “Outcast: Limits and Possibilities in Casting Black Performers in the Age of Granular Dramaturgy.” Canadian Theatre Review, vol. 193, Winter 2023. In Press.

Berlin, Sadie. “Speaker Series with Sadie Berlin.” York University, 18 Jan. 2021, Zoom.

“Black Out Night, Dixon Road.” Canadian Stage,

“Black Out Night, Is God Is.” Canadian Stage,

“Black Out Nights: A Night Dedicated to Black Audiences.” Theatre Passe Muraille,

“‘Brownface’ Theatre Performance Irks South Asian Critics.” CTV News, 14 Mar. 2015,

Brown, Lydia X.Z. “Practicing Disability Justice, Honoring Wholeness Onstage.” American Theatre, 26 Mar. 2021,

Bruno, Christine. “Casting Disabled Actors.” Casting a Movement : The Welcome Table Initiative, edited by Claire Syler and Daniel Banks, Routledge, 2019, pp. 85-87.,

Burrow, Jonathan and Kate Marsh. “Gatekeepers: Imagining Non-Traditional Leadership in the Arts.” The Theatre Times, 10 Oct. 2017,

Carlson, Marvin. The Haunted Stage: The Theatre as Memory Machine. University of Michigan Press, 2002.

Carpenter, Faedra Chatard. Coloring Whiteness: Acts of Critique in Black Performance. University of Michigan Press, 2014,

Catanese, Brandi Wilkins. The Problem of the Color[blind]: Racial Transgression and the Politics of Black Performance. University of Michigan Press, 2012, pp. 1-31,

Catliff, Suzy, and Jennifer Granville. The Casting Handbook: For Film and Theatre Makers. Routledge, 2013,

@CdnActorsEquity. Image of CAEA’s statement on “As Cast” and commitment to BIPOC members. Twitter, 9 Jun. 2020,

Charlebois, Gaetan, and Anne Nothof. “Ethnic Theatre.” Canadian Theatre Encyclopedia, 20 Feb. 2020,

Clarke, Chevaz. “BIPOC: What Does It Mean and Where Does It Come From?” CBS News, 2 July 2020,

Cook, Amy. Shakespearean Futures: Casting the Bodies of Tomorrow on Shakespeare’s Stages Today. Cambridge University Press, 2020.

Cook, Amy. “Shakespearean Futures: Casting the Bodies of Tomorrow on Stages Today.” The Lab at the Stratford Festival and York Research Chair in Theatre and Performance and the Department of Theatre in the School of AMPD at York University. 28 Sept. 2021, Zoom. Address.

Coronel, Joy Lanceta. “Say it Loud: A Roundtable on Accent Training for Racialized Actors.” York University Department of Theatre, 7 Feb. 2022. Zoom. 


“Cultural Dramaturgy.” Old Heads Podcast from Podbay, 17 July 2020,

“‘Dainty as Needs Be’: Madame Butterfly and Cosmetic Yellowface_Esther Km Lee, Duke University.” YouTube, uploaded by John Hope Franklin Centre at Duke University, 31 Jan. 2022,

Daniel, Kearie. “Why BIPOC is an Inadequate Acronym.” Chatelaine, 12 Nov. 2020,

Dave, Shilpa S. Indian Accents: Brown Voice and Racial Performance in American Television and Film. University of Illinois Press, 2013. ProQuest Ebook Central,

Davis, Clinton Turner. “Non-Traditional Casting (an Open Letter).” African American Review, vol. 31, no. 4, 1997, pp. 591–94,

“Demand Change for BIPOC Theatremakers.”, 2020,

@dominickevans (Dominick Evans). “The fact that people are no longer saying cripface….” Twitter, 26 Mar. 2021,  

Drake, Judith. “My Left Foot: The Cripping Up Debate.” National Theatre of Scotland, 5 Apr. 2019,

Elmoutawakil, Tarik. “How to Avoid Tokenism.” British Council, 20 Jan. 2018,

Emeka, Justin. “Playing with ‘Race’ in the New Millennium.” Casting a Movement: The Welcome Table Initiative, edited by Claire Syler and Daniel Banks, Routledge, 2019, pp. 36-48,

Eordogh, Fruzsina. “Black Feminists Are USA’s Best Defence Against Meme Warefare, Fake News, Foreign and Domestic Trolls.” Forbes, 9 Mar. 2018,

Estrada, Meera. “‘Shadeism’ is the Dark Side of Discrimination We Ignore.” Global News, 24 May 2019,

Fadel, Leila. “Cultural Appropriation, A Perennial Issue on Halloween.” NPR, 29 Oct. 2019,

Feeney, Nolan. “Katy Perry’s ‘Geisha-Style’ Performance Needs to Be Called Out.” The Atlantic, 25 Sep. 2013, 

Frazer-Carroll, Micha. “‘It’s Dangerous Not to See Race’: Is Colour-Blind Casting All It’s Cracked Up to Be?” The Guardian, 11 Aug. 2020,

Fricker, Karen. “‘Almighty Voice and His Wife’ is a Big, Bold Play, Realized Through Restraint, at Soulpepper.” The Toronto Star, 18 Oct. 2019,

Fricker, Karen, and Carly Maga. “The Stratford Festival Admitted its Own Systemic Racism and Gave Black Artists a Chance to Speak Out.” The Toronto Star, 20 Jun. 2020,

Galella, Donatella. “Artists of Color/Cross-Racial Casting.” Casting a Movement: The Welcome Table Initiative, edited by Claire Syler and Daniel Banks, Routledge, 2019, pp. 190-199,

Galella, Donatella. “Feeling Yellow: Responding to Contemporary Yellowface in Musical Performance.” Journal of Dramatic Theory and Criticism, vol. 32 no. 2, 2018, p. 67-77. Project MUSE,   

Gilbert, Helen. “Black and White and Re(a)d All Over Again: Indigenous Minstrelsy in Contemporary Canadian and Australian Theatre.” Theatre Journal, vol. 55 no. 4, 2003, pp. 679-698. Project MUSE,

Greenidge, Kaitlyn. “Why Black People Discriminate Among Ourselves: The Toxic Legacy of Colorism.” The Guardian, 9 Aug. 2019,

Guin, Rebekah Dare. “Whitewashing in Theatre Will Always be a Method of Racial Exclusion.” OnStage Blog, 2 Jun. 2020,

Hwang, David Henry. Yellowface. Theatre Communications Group, 2009.

Herrera, Brian Eugenio. “Nevertheless, Whiteness Persisted.” Casting a Movement: The Welcome Table Initiative, edited by Claire Syler and Daniel Banks, Routledge, 2019, pp. 49-54,   

Herrera, Brian Eugenio. “Stealth Latinos: Casting the Limits of Racial Legibility at Midcentury.” Latin Numbers: Playing Latino in Twentieth-Century U.S. Popular Performance, University of Michigan Press, 2015, pp. 54-95,

Howard, Phillip S. S. “Blackface in Canada.” AAPR McGill, 2017,

“IBPOC Artistic Practices” Primary Colours,

Ingersoll, Karena Fiorenza, and Deena Selenow. “You Want a Diverse Theatre? Prove it.” HowlRound Theatre Commons, 28 Aug. 2015,

Jackson, Laur M. “Memes and Misogynoir.” The Awl, 28 Aug. 2014,

Jackson, Lauren Michelle. “We Need to Talk About Digital Blackface in Reaction GIFs.” Teen Vogue, 2 Aug. 2017,

Jadhwani, Lavina and Victor Vazquez. “Identity-Conscious Casting: Moving Beyond Color-Blind and Color-Conscious Casting.” HowlRound Theatre Commons, 2 Feb. 2021,

Kelly Nestruck, J. “Actors from Stratford Festival and Beyond Speak Out about Backstage Racism.” The Globe and Mail, 9 Jun. 2020,

Keyes, Daniel. “Whites Singing Red Face in British Columbia in the 1950s.” Theatre Research in Canada/Recherches Théâtrales Au Canada, vol. 32, no. 1, University of Toronto, 2011, pp. 30–63,   

Kharod, Aditi. “The Writing on the Wall: The Use of Brownface in Theatre.” The Theatrical Board, 11 Sep. 2018,

Kondabolu, Hari. The Problem With Apu. truTV, 2017. CBC Gem,

Komporály, Jozefina. “‘Cripping up is the Twenty-First Century’s Answer to Blacking Up’: Conversation with Kaite O’Reilly on Theatre, Feminism and Disability.” Gender Forum, no. 12, 2005, pp. 61-67, .

Krasner, David. “Migration, Fragmentation and Identity: Zora Neale Hurston’s Color Struck and The Geography of the Harlem Renaissance.” A Beautiful Pageant: African American Theatre, Drama, and Performance in the Harlem Renaissance, 1910-1927. Palgrave, 2002, pp. 113-130.

Kuruvilla, Carol. “Apu, a Racist Caricature of South Asians, Faces Reckoning in New Documentary.” Huffpost, 14 Nov. 2017,

Kwon, Renate. “Of Clowns and Cosmetics – ‘Yellowface’ in Early 20th-Century Stage and Screen.” Duke University, 31 Jan. 2021,

Lister, David. “The Opening of Two Shakespeare Productions Signal a Considerable Leap Forward for Gender-Blind Casting.” Independent, 29 Jun. 2016,

Lynch, Signy. “Casting Audiences: How Theatre Passe Muraille’s ‘Black Out Nights’ Challenge Conventional Approaches to Audience.” Canadian Theatre Review, vol. 193, Winter 2023. In Press.

MacInnes-Rae, Rick. “Shadeism: Filmmaker Looks at Discrimination Among People of Colour.” CBC News, 29 Jun. 2014,

Manning, Adrian S. A. “The Differing Shades of Redface: The Evolving Image of Native Americans in Hollywood Comedies.” Studies in American Humor, vol. 6 no. 2, 2020, p. 301-322. Project MUSE,  

Mantoan, Lindsey. “The Utopic Vision of OSF’s Oklahoma!: Recuperative Casting Practices and Queering Early American History.” Studies in Musical Theatre, vol. 15, no. 1, 2021, pp. 41-56.

McAllister, Marvin. “Late-Night Pleasure Garden for People of Color: Noah’s African Grove.” White People Do Not Know How to Behave at Entertainments Designed for Ladies and Gentlemen of Colour: William Brown’s African and American Theater, The University of North Carolina Press, 2003, pp. 11-37. HeinOnline,

Mercer, David. “My Left Foot Director Backs Calls for Actors to Stop ‘Cripping Up’ and Would Cast Disabled Actor in Daniel Day-Lewis’ Role if Film was Made Today.” Sky News, 20 Jun. 2021,

Minnicino, Matthew. “He That Plays the King.” HowlRound Theatre Commons, 29 Apr. 2016,

Morgan, Thad. “How Hollywood Cast White Actors in Caricatured Asian Roles.” History, 21 Oct. 2021,

Morikawa, Hannah. “What You Need to Know About Representation in Film.” Inkspire, 15 Jul. 2017,   

Nakagawa, Scot. “On Yellow Face, Racial Parody, and White Denial.” Race Files, 28 Jul. 2014,

Newman, Harry. “Holding Back: The Theatre’s Resistance to Non-Traditional Casting.” TDR, vol. 33, no. 3, 1989, pp. 22–36. JSTOR,

Robinson, Jamie and Zoe Marin, editors. “The Artist and the Activist.” Canadian Theatre Review, vol. 193, Winter 2023, In Press.

Pao, Angela Chia-yi. “Introduction.” No Safe Spaces: Re-Casting Race, Ethnicity, and Nationality in American Theater. University of Michigan Press, 2010, pp. 1-22,

Parham, Jason. “TikTok and the Evolution of Digital Blackface.” Wired, 4 Aug. 2020,

Parker-Starbuck, Jennifer and Joshua Abrams. “Thriving in Hard Times: The Contemporary London Scene.” Western European Stages, vol. 21, no. 2, 2009, pp. 44-58. ProQuest,   

Paskin, Willa. “Cameo Overkill; How stunt-casting jumped the shark.” New York, vol. 43, no. 37, 29 Nov. 2010. Gale Academic OneFile,   

Peterson, Julia. “Sask. Theatre Artists of Colour Say Racism, Tokenism Persists in Local Industry.” CBC News, 22 Jul. 2020,

Phillips, Maya. “‘Hamilton,’ ‘The Simpsons’ and the Problem With Colorblind Casting.” The New York Times, 8 Jul. 2020,

Pierce, Jerald Raymond. “Not a Moment but a Movement: Toward an Anti-Racist American Theatre.” American Theatre, 15 July 2020,

Pitas, Jeannine M. “Resisting Shadeism: An Interview with Nayani Thiyagarajah.” Rabble, 24 Feb. 2014,

Reyes, Ronny, and Gina Martinez. “Math Teacher is Placed on Leave for Wearing Feather Headdress and Performing Native American Dance to Teach Kids ‘Easy Way to Memorize Trigonometry Terms’.” Daily Mail, 23 Oct. 2021,

Rocca, Ryan. “Teacher Who Wore Blackface ‘no Longer Employed’ by Toronto District School Board.” Global News, 17 Nov. 2021,

“Rodgers and Hammerstein’s Oklahoma!: Pioneering New Ground with an American Classic.” Oregon Shakespeare Festival, 2018,

Rosen, Christopher. “Hank Azaria Will Officially No Longer Voice Apu on The Simpsons.” Vanity Fair, 25 Feb. 2020,

Salomon, Andrew. “NTCP Changes Name, Cause the Same.” Backstage, 25 Mar. 2013,

Samuel, Brittani. “We See You, White American Theater: Reflecting on the Collective’s Progress, Purpose, and Potential.” The Brooklyn Rail,   

Sandahl, Carrie. “The Difference Ability Makes.” Casting a Movement: The Welcome Table Initiative, edited by Claire Syler and Daniel Banks, Routledge, 2019, pp. 88-89,

Saxberg, Lynn. “Duck the Gatekeepers: Black Theatre in Ottawa Requires Blazing Your Own Path.” Ottawa Citizen, 13 July 2020,

Sears, Djanet. “Play Equity and the Blindspots.” SpiderWebShow, 16 Feb. 2016,

Sheehan-Clark, Lauren. “Limitations of Gender-Swapped Theater: A Closer Look at West End’s ‘Company’ Revival.” The Daily Californian, 21 Mar. 2019,

Smith, SE. “No Glee for Disabled People.” The Guardian, 19 Aug. 2010,

@starringeb (E. B. Smith). “LONG THREAD, PLEASE READ: re: @stratfest’s #inthedressingroom…” Twitter, 5 Jun. 2020,

@starringeb (E. B. Smith). “UPDATE!!! Great talks with @acimolino_sf and @chrisjabraham about the abolishing As Cast…” Twitter, 9 Jun. 2020,

Stewart, Marcel. “The Scarcity Mindset Has a Deathgrip On Casting.” Canadian Theatre Review, vol. 193, Winter 2023, In Press.

@stratfest. “There’s an old saying in the theatre, ‘what happens in the dressing room, stays in the dressing room’ it’s hard to be backstage and Black. #inthedressingroom.” Twitter, 4 Jan. 2020, 7:59 p.m.,

Sumi, Glenn, and Jon Kaplan. “Tomson Highway Believes Controversy is Good for Art.” NOW Toronto, 12 Jul. 2021,

Thiyagarajah, Nayani. “Shadeism.” Interview by Rick MacInnes-Rae. CBC Radio, 29 June 2014, Interview.

Thiyagarajah, Nayani. “Shadeism.” Vimeo, uploaded by shade ism, 2010,

Tweedy, Jo. “YouTube Star Joe Sugg Sparks Bitter Backlash from TRAINED Actors After Landing West End Role in Waitress – As They Slam Theatre for ‘Stunt Casting’.” Daily Mail, 21 Aug. 2019,

“What’s the Deal with Blackface?” The Secret Life of Canada from CBC, 10 June 2020,

We See You W.A.T, 2020, ​​

Weinman, Jaime J. “How to Sustain a Smash TV Hit.” Maclean’s, vol. 125, no. 9, Mar 12, 2012, pp. 81. ProQuest,

Williams-Witherspoon, Kimmika. “Blacks on Stage: Are We Still Replicating Stereotypes from the Legacy of Minstrelsy.” Praxis, 2013,

Wilson, Melinda D. “Joe Turner’s Come and Gone: An Experiment in ‘Race-Conscious’ Casting.” Theatre Topics, vol. 19, no. 1, 2009, p. 39-49. Project MUSE,

Wojcik, Pamela Robertson. “Typecasting.” Criticism, vol. 45 no. 2, 2003, pp. 223-249. Project MUSE,

Wright, Kailin. “Performing Cultural Crossroads: The Subject-Making Functions of ‘I am’ Declarations in Daniel David Moses’s Almighty Voice and His Wife.” Theatre Research in Canada, vol. 35, no. 2, 2014, pp. 185-202. UNB Libraries Journals,

Ybarra, Patricia. “A Message from TAPS Chair, Dr. Patricia Ybarra.” Brown University, 4 Dec. 2015,