Unfair Denial: Tenyjah Indra McKenna's Audition for 'Les Belles-soeurs'

by Chris Peterson, OnStage Blog Founder

In the world of theater, where diversity should be celebrated and talent knows no color, a troubling incident came to light in 2017 that left many questioning the industry's commitment to inclusivity.

Tenyjah Indra McKenna, a talented young Black actress, found herself at the center of a controversy when she was denied an opportunity to audition for a role in the play "Les Belles-soeurs" in Canada, simply because of her race. This incident not only raised questions about racial bias in casting but also underscored the ongoing struggle for diversity and inclusivity in the performing arts. A struggle still felt nearly six years later.

"Les Belles-soeurs," written by Michel Tremblay, tells the story of a working-class woman, Germaine Lauzon, who wins a million trading stamps and invites her family and friends over to help her paste them into booklets. While the play's themes may be universal, the story is deeply rooted in the Quebecois experience, and the characters reflect this specific cultural background.

McKenna aspired to audition for the role of Germaine Lauzon, a character who resonated with her deeply. McKenna believed that her performance could offer a fresh perspective on the character, bridging cultural gaps and celebrating diversity in the world of theater.

However, her dream quickly turned into a nightmare when she was informed that she would not be allowed to audition for the role of Germaine Lauzon because of her race. The reasoning behind this decision was both shocking and deeply unjust – the producers of "Les Belles-soeurs" believed that only a white actress could accurately portray the character, as they insisted on maintaining the authenticity of the Quebecois cultural context.

In an email, director Judy Treloar wrote to McKenna, “As much as I do not like saying this, the 15 women in this play are Quebecois women and the play is set in Montreal in 1965. A black woman would not be a neighbour or a sister in this play, however I would love to meet you and hear you read.”

But McKenna, who grew up in Montreal, questioned Treloar’s understanding of the city’s demographics in the 1960s and in an email response she wrote that throughout the 1960s, her family lived and worked in the same Montreal borough in which “Les Belles-soeurs” takes place.

McKenna would go on to file a complaint racial discrimination with the B.C. Human Rights Tribunal and they heard the case. I cannot find a record of what their decision was on the matter.

But this issue stirred outrage not only within the theater community in Victoria, but also among advocates for diversity and inclusivity. The incident highlighted a troubling aspect of the performing arts industry: the persistence of racial bias in casting decisions.

I was recently reminded of this incident with a recent incident regarding auditions for a period piece at a community theatre. In a similar situation, BIPOC performers were discouraged from auditioning because the director wanted to be “accurate” in casting given the assumed demographics in the region at that time. I later found out that the director had no data to back up the assumption that BIPOC didn’t inhabit that region during that time.

A year doesn’t go by when I’m not notified of similar situations with auditions

The argument that only white performers can accurately portray a character from a specific cultural background is not only misguided but also perpetuates harmful stereotypes and racial biases. It implies that an actor's race is the sole determinant of their ability to convey the essence of a character, ignoring the actor's skill, training, and commitment to their craft. Such a stance is not only discriminatory but also contradicts the fundamental principles of acting – the ability to immerse oneself in different roles and characters, regardless of one's personal background.

The controversy surrounding Tenyjah Indra McKenna's denied audition, and others like it, serves as a reminder that the theater industry, like many others, has a long way to go in terms of achieving true diversity and inclusivity. It is disheartening to see that in a world where the performing arts should be a platform for showcasing a variety of voices, experiences, and backgrounds, racial bias can still prevail and deny talented individuals opportunities solely based on their skin color.

It is also crucial to acknowledge that progress has been made in the last few years to promote diversity in the arts. Many productions have cast actors of various racial backgrounds in roles that were traditionally portrayed by white performers, breaking down barriers and challenging preconceived notions. However, there are examples that underscore that there is still much work to be done to combat systemic racism in the industry.

To address this issue effectively, it is essential for theater companies, producers, directors, and casting agents to commit to a more inclusive casting process. This involves recognizing that talent and skill should be the primary factors in casting decisions, rather than an actor's race or ethnicity.

Furthermore, it requires acknowledging that the performing arts can transcend cultural boundaries and that actors should be given the opportunity to bring their unique perspectives and experiences to any role.

When talented individuals like McKenna are denied the opportunity to audition for a role simply because of their race, it not only hinders their artistic growth but also limits the potential for groundbreaking and transformative performances.

This incident, and the ones that are still happening today, underscore the need for change in casting practices and a commitment to judging actors based on their talent and dedication rather than their racial background. While progress has been made, incidents like these remind us that the path to a truly inclusive and diverse theater community is still fraught with challenges.