Though we are a publisher of children’s books, part of our mission is to look at diversity issues with a critical eye and see whose stories are not being told. As part of that mission, over the next several months we will be looking at several different arenas and talking to experts to see if patterns of inequality repeat themselves in different places. We hope our research will cast a light on the challenges – and opportunities – facing women and people of color today.
Since the Tony Awards will be presented on June 9, 2013, we decided to collect some data to see if a diversity gap exists in the theater. See our infographic above. While we cannot claim expertise in other fields outside of children’s books, we were fortunate to receive valuable insight from playwright/actor Christine Toy Johnson, who has spent the last fifteen years conducting dialogue with the entertainment industry to increase diversity in the theater and beyond.
CHRISTINE TOY JOHNSON is an award-winning writer, actor, filmmaker, and advocate for inclusion. Member: BMI Workshop, Dramatists Guild, ASCAP, AEA, SAG-AFTRA, Asian 
American Composers and Lyricists Project (founder), executive board of Alliance for Inclusion in the Arts, elected leadership of Actors’ Equity Association (and co-chair of the union’s EEOC), founding steering committee member of AAPAC. {Read more}
How old were you when you knew you wanted to perform onstage?
I can’t remember an age when I didn’t want to perform onstage. I was the kind of kid who made my parents’ holiday guests watch my dramatization of “The Twelve Days of Christmas” every year. I started working professionally (and joined Actors’ Equity Association) the summer I graduated from high school, and against all odds, I have made my living in the arts ever since, as both an actor and a writer.
Since you have been involved in the theater for so long, how have you seen the theater world change? Do you feel that the number of roles available to people of color has increased over the years?
Things have gotten better for people of color, for sure, but there is obviously a lot of room for improvement.
I want to preface all of this by saying that I can only really speak from the perspective of being an Asian American actor and writer. I can’t presume to know what it’s like to be African American, Latina, Native American, etc., but the stats I’ve included from AAPAC (see below) will be able to address this question from a more objective point of view.
Back in 1991, I got a chance to play Julie Jordan in a production of CAROUSEL at the Hangar Theatre in Ithaca, 
New York, which was a watershed moment for me. Not only was I shocked that I was being given the opportunity to audition (back then, a rare occurrence), but after I booked the job, working with a director and company of actors that supported me and believed in my ability to transform into a non-Asian character in a classic golden age musical gave me the confidence to go for and go on to play many, many more classic non-Asian leading lady roles. The power of encouragement and affirmation from your peers cannot be underestimated.
As a playwright/librettist/lyricist, I am also acutely aware of the number of writers of color that are being produced, which is a key part of this puzzle. (More on that in a later question.) Personally, I am conscious of always either including an Asian American actor in my written work or telling an aspect of an Asian American character’s story. I believe that the only way we’ll see our roles increase is if more of our stories are produced (written by and/or about us), and/or if more playwrights/directors/producers are open to having people of color play non-race specific roles they write/direct/produce.
In light of our grant from 
In light of our recent grant from 
Guest blogger Katie Cunningham is an Assistant Professor at Manhattanville College. Her teaching and scholarship centers around children’s literature, critical literacy, and supporting teachers to make their classrooms joyful and purposeful. Katie has presented at numerous national conferences and is the editor of The Language and Literacy Spectrum, New York Reading Association’s literacy journal. 
problems in their marriage. When the local pastor, Father Jim (Brendan Griffin) and concerned neighbor, Karl (Jeremy Shamos) stop by the house the true gist of the story starts to simmer at first, builds to a boil, and ends with an all out blow out. Karl is concerned that Russ has sold his house to a black family, which in his mind could drag the neighborhood’s property values down and promote white flight. Russ seems to be surprised at this news at first, having been completely hands off with the realtor who sold his home, but warms to the news in an unanticipated way. The fact is, Russ sees this as an appropriate farewell to a community he secretly loathes. Russ feels his family was treated as pariahs because his only son committed suicide after returning from the Korean War under the suspicion of war crimes.