Broadway and West End Casting

Broadway and West End Castin Roles, Race and Gender explores the politics and cultural significance of “non-traditional” casting through a wide-ranging examination of theatre in the United States and the United Kingdom. Combining theatre spectatorship, performer histories, interviews, and cultural analysis, the book considers how race, gender, representation, and access continue to shape contemporary performance cultures on Broadway and in the West End. Dolores Beasley asks how audiences interpret productions in which Black actors or women perform roles historically associated with white or male identities, and whether such casting should be understood as representational inclusion, aesthetic intervention, or political statement. Across a range of Broadway and West End productions, it explores the extent to which casting practices reshape theatrical meaning, audience reception, and cultural expectations surrounding race, gender, and performance. Ranging through musical theatre, Shakespeare, contemporary drama, criticism, and audience reception, the study examines the ways casting choices influence not only who appears on stage, but how theatrical meaning itself is constructed and received. Productions including Hamilton, Oklahoma!, Company, Othello, and Emilia are situated within broader conversations about racial justice, representation, spectatorship, and institutional change in contemporary theatre industries. At the centre of the book is a sustained engagement with Black theatre histories and the experiences of Black performers, audiences, and creative workers. The manuscript connects contemporary casting debates to longer histories of exclusion, opportunity, and artistic negotiation, while also reflecting on the role of critics, audiences, and theatrical institutions in shaping cultural legitimacy and visibility. Written in an accessible and personal style, the book combines critical reflection with lived theatre-going experience, offering a perspective that moves between scholarship, cultural commentary, and performance criticism. The result is a study that speaks both to theatre enthusiasts and to wider discussions about race, identity, representation, and cultural power in contemporary performance culture.