![]() It would be hard to come up with a more progressive team of collaborators than Nixon in China’s composer (Adams), inaugural director (Peter Sellars), librettist (Alice Goodman), and original choreographer (Mark Morris). If the Scottish Opera owes these “communities” an apology for “yellowface” and “whitewashing” (defined by BEATS as using non-Asian singers for Chinese roles), so do the creators of Nixon in China and nearly every director that has mounted the opera since its 1987 premiere in Houston. Once again, our heartfelt apologies to everyone, most especially our ESEA communities.” We are also sorry for any misrepresentation caused by the stage make-up.” Though the company practices diversity in casting, “we accept there is a lot more work still to be done. It issued a statement of classic neo-Stalinist self-abnegation: “We are deeply sorry for the offence caused by the casting of our 2020 production of John Adam’s Nixon in China. ![]() Nevertheless, the company caved immediately to its detractors. ![]() “There is clear photographic evidence,” an obscure advocacy group called BEATS (British East & Southeast Asians in Theatre and on Screen) shot back, “that the practice of yellowface was employed on dancers in the production.”Īpart from BEATS, Chou-Lambert, and MP Sarah Owen, there was no groundswell of outrage against the Scottish Opera and its arts nomination. The company tried to defend itself by explaining that its production “intended to portray the character of Chairman Mao as old and in ill-health and in no way were we trying to change his ethnicity”. Suggested reading How the culture wars came for history ![]()
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