American Theatre: Post-Show Reflection & Next Steps
- The "We See You, White American Theater" (WSYWAT) demands, addressing diversity, equity, and inclusion (DEI) in the theater world, initially met with mixed reactions.
- Nataki Garrett Myers, board chair for Theater Communications Group, said she signed the WSYWAT document as it affirmed her experiences as a marginalized artist and theater leader.
- Theater and educational institutions varied in their DEI progress.Some had already integrated these principles into their strategic plans, while others were just beginning to build relationships with diverse...
Five years after the “We See You, White American Theater” (WSYWAT) demands, the American theater community grapples with its DEI progress.The initial push for diversity, equity, and inclusion sparked varied responses, prompting some to take action while others hesitated. WSYWAT’s impact is undeniable; it significantly raised awareness of systemic issues within the industry. This post assesses the tangible changes and cross-cultural solidarity. Discover how the secondary_keyword, community responsiveness, is crucial for achieving lasting change. Learn more from News Directory 3’s in-depth report on challenges within the American theater. Delve into the next steps and discover what’s next for the stage.
“We See You, White American Theater” Five Years Later: A Progress Report on Diversity, Equity, and Inclusion
Updated June 17, 2025
The “We See You, White American Theater” (WSYWAT) demands, addressing diversity, equity, and inclusion (DEI) in the theater world, initially met with mixed reactions. While some industry professionals dismissed them as unrealistic, manny theater leaders engaged in serious discussions. For others, the document validated their experiences.
Nataki Garrett Myers, board chair for Theater Communications Group, said she signed the WSYWAT document as it affirmed her experiences as a marginalized artist and theater leader. “It said that we as relatively marginalized artists across this theater field deserve better,” Garrett Myers said. “It was revolutionary, because for a long time the American theater rested on its laurels… Yet I, along with many of my colleagues, had experienced tremendous trauma.”
Theater and educational institutions varied in their DEI progress.Some had already integrated these principles into their strategic plans, while others were just beginning to build relationships with diverse communities. Regardless, the WSYWAT document prompted contemplation and action.
Nicole Brewer, director and founder of Anti-Racist Theatre, noted the document’s impact. “I think WSYWAT, just five years out, has reached so many people’s consciousness, and that can’t be erased,” Brewer said. She added that some predominantly white institutions treated WSYWAT like Shakespeare, using it to understand and address systemic issues. Now, these institutions “can no longer say, ‘We didn’t know.'”
As the initial urgency subsides, a backlash emerges amid efforts to prosecute DEI programs. This makes it a critical time to revisit the WSYWAT demands and assess progress.
Tara Moses cited instances of cross-cultural solidarity as a source of hope.She recounted how Company One’s managing director, karthik Subramanian, insisted on honoring her Native smudging ceremony, even offering to delay opening night. “In my entire career… I have never experienced a fight for a very specific cultural experience where I didn’t have to do it,” Moses said. “I’ve had to fight in so many places, but this is the first time a non-Native person did the fighting for me—and went further than I would have gone.”
Rad Pereira emphasized the importance of crediting grassroots efforts predating 2020 and distinguishing between revolutionary aesthetic and revolutionary practice. “It’s hard to know the direct impact from WSYWAT,” Pereira said. “From where I stood, it seemed like it perpetuated this revolutionary aesthetic, as opposed to making actual, tangible change… How do we bring abolition, democracy, and accountability to our day-to-day?”
José Casas finds inspiration in the actions of his peers, citing Jacob Padrón’s decision to release Long Wharf Theatre from its longtime artistic home to become a more community-responsive company. “We have a ton of artistic directors, but not enough leaders,” he said. “We need more Jacobs.”
Mikael Burke, a Chicago-based director, felt the WSYWAT document ”saying the quiet part out loud.”
“I have had instances at certain theatres where artistic directors suggest that the reason that there
What’s next
The theater community must continue to prioritize DEI, focusing on tangible changes, cultural agency, and community responsiveness to achieve lasting progress.