Opera with diverse cast faces whitewash claim
Chinese setting of ROH production causes tension despite it having a cast from across the globe
The Royal Opera House’s production of Puccini’s Turandot, which features a cast from six different countries, has been accused of “whitewashing” over its lack of British east and south-east Asian talent. The British East and South-east Asians in Theatre and On Screen group bemoaned that of the nine lead roles, only two were east or south-east Asian performers. The opera is set in China and tells the story of Prince Calaf trying to win the hand in marriage of Princess Turandot.
FOR MANY, the Royal Opera House’s latest production of Puccini’s Turandot will be considered an example of truly diverse casting, with performers coming from across the globe.
The nine lead characters hail from six different countries, including South Korea, South Africa and the Congo.
But one group, which promotes Asian representation in the theatre industry, says Royal Opera House’s newest production is an example of opera’s “whitewashing” problem.
The British East and South-east Asians i n Theatre and On Screen (BEATS) group has lambasted the production for its lack of British east and south-east Asian singers in the cast and production team.
On Saturday, the not-for-profit organisation bemoaned that of the nine lead roles, only two were east or south-east Asian performers.
Turandot, composed by Giacomo Puccini, is set in China and tells the story of Prince Calaf trying to win the hand in marriage of Princess Turandot by answering riddles, at risk of death.
The casting of Anna Pirozzi, a white Italian woman, as Princess Turandot, a specifically non-white role, has been one of the main complaints levelled at the Royal Opera House by the group.
A spokesman from BEATS said: “Casting a white actor in a specifically nonwhite role, known as “whitewashing”, is regressive, as it perpetuates the historical and present exclusion of artists of colour from the stage.
The Royal Opera House said it was opposed to pigeonholing singers into certain roles based on ethnicity, which it described as “limiting and reductive”.
It added: “We are proud that this revival presents an outstanding and diverse cast, and we will continue to work with others across the industry to ensure that broader representation is achieved on our stages and across the performing arts.”
The opening performance of the opera lists a cast of nine main perf ormers. Two of those listed are from South Korea, with Yonghoon Lee playing Calaf and Hans ung Yoo playing Ping.
Among the remaining seven cast members, six nationalities are represented, including last year’s UK Singer of the Year finalist Masabane Cecilia Rangwanasha, who is originally from South Africa.
While BEATS acknowledged in its statement that performers of colour featured on the cast list, it said that the lack of east or south-east Asian singers for an opera set in China was disappointing, particularly as this group had historically had limited opportunities in the arts and British life. It also accused the production of including “orientalist tropes and stereotypes” and being as regressive as previous performances, which included “yellowface” make-up. This is the second time that BEATS have decried a Royal Opera House production of a play set in Asia. Last year, it accused the Royal Opera House of whitewashing a production of Madama Butterfly after it cast an Italian and Armenian in the leading roles.