As long as the American theatre industry relies on classism to exist, we will continue to cycle through problematic white people's non-apologies from plucky personalities who love the works of Stephen Sondheim.

It is expensive to have access to theatre. It is expensive to train to be "Qualified" to work in theatre. It is expensive to produce theatre. It is prohibitively expensive to go through conventional channels (even newer ones like YouTube!) to become a paid performer.

You could even argue that theatre largely exists as a status symbol for the ruling class and that the shows that tend to succeed commercially may also tend to cater to the experiences, aesthetics, or expectations of the elite...But who can say?

...So, what do we get? We get conservatories and theatre programs primarily populated by rich kids, since those rich kids could pay the literal price of admission for theatre school but also the price of private lessons before auditioning and the price of a life of theatregoing.

Not to mention, channels of professional success that favor wealth also tend to favor whiteness while perpetuating the lie that they are meritocracies.

...So white rich people get into BFA programs and are fed the idea that they got in only from individual talent and diligence.

So, we get an industry ripe with predominantly white, rich BFA and MFA grads who believe that their academia qualifies them above others to be working artists...and they also still believe that their individualism qualified them above others for said academia in the first place.

The idea of white entitlement by way of individualism especially permeates musical theatre, because contemporary culture has created a myth that "Theatre people" are marginalized due in part to the fact that theatre is so expensive that it is inaccessible to the culture at large.

So, these white, rich students think they're simultaneously exceptional and marginalized by virtue of being able to partake in the institution of "legitimate" musical theatre.

(This is also why your community theatre had at least one insufferable ego that couldn't be eradicated)

American musical theatre has a culture of gatekeeping while performing inclusivity. We love gay people*! We love women**! We love Black people***!

*White, cis, able-bodied, thin gay men.
**predominantly white, cis, able-bodied, thin, societally beautiful DIVAS
***Audra.

If you don't fit in the established musical theatre status quo, you'd better hope your family has lots of money to pay for training that legitimizes you AND that your talent is prodigious to the point where it cannot be ignored AND that someone helps you package it "Correctly."

The gatekeeping is so pervasive that musical theatre performers especially develop a reflex to constantly perform being infallibly "Right," because you're always one metaphorical or literal sour note away from losing your right to exist in this exclusive club.

Musical theatre as an industry churns out so many white, rich, screlting Hermione Granger personalities who are terrified of admitting - let alone, fully owning and processing- fault.

And, really, that impulse makes sense. When you mess up in a show, you keep going like you meant to do it, and you hope nobody notices. After all, people pay lots of money to see theatre; you don't want to damage the product or waste time.

In so many performing arts schools, publicly acknowledging fault is amateur, not dignified. Taking time to rectify a mistake in front of your audience rather than glossing over it is inefficient. You just tell yourself to push really hard to get it right next time.

The classism and whiteness of the industry create the false senses of meritocracy and marginalization taught to white rich performers. The false marginalization creates a myth of inclusion, while the false meritocracy creates and justifies a pattern of gatekeeping.

And, like, just to be clear, even the outsiders to that level of privilege still experience the pressure to assimilate in order to stand a chance at recognition from the industry. In our different ways, we're all trying to be "Right" for public consumption.

Any of the white musical theatre-trained performers who have given non-apologies this summer were trying to apply "The Show Must Go On" to their past racism. And, to be fair, in the very recent past, it would have worked, which is why they are still trying it.

If they gave real apologies, they'd have to appear unpolished for a minute. They'd have to admit that their metaphorical jewel-toned wrap dresses and beige character shoes were never a good look, even if it was a common look. They'd have to admit that their timbre got unpleasant.

They'd have to admit, ultimately, that they are inherently privileged and flawed. They'd have to admit that there will always be learning and unlearning that they have to do, and they will never be above accountability for past, current, or future fuckups.

And that admittance is not a tidy package ready for an industry showcase. That's not booked and blessed. That's not worthy of a $150 Broadway ticket. That admittance isn't even a "She is messy, but she's kind," because even that is vocally controlled and created by a celebrity.

Not to mention, they might have to examine how talented and deserving of work they actually are if it turns out that the positive attention they received came from a racist culture and an industry that rewards wealth and whiteness.

I'm rambling. Even as I write about the value of admitting privilege and fault, I still hope I'm getting it "Right" and can feel vindicated through the approval of musical theatre people who get it "Right."

...Anyway, that's how I feel about Mr. Pingy Parodies and associates.