Top 10 Controversial Broadway Casting Decisions

Lin-Manuel Miranda’s magnum opus “Hamilton” is regarded as one of the most groundbreaking musical productions of all time, but that does not make it immune to controversy. In March of 2016, a casting notice calling for “nonwhite” actors and actresses starting making the rounds. The show’s history of inclusion was marred by this casting notice and led to the Actors' Equity Association, a stage actors’ union, taking action. The Actors' Equity Association ultimately spoke out against the notice, stating that it was against their policies and the auditions should be open to performers of all races. The “Hamilton” team responded by updating the wording on the notice to reflect the union’s policies.

O’Donnell is known for her sense of humor and larger-than-life personality. Before tackling this role, the comedian made appearances in “Grease” and “Seussical.” When she took over the role of matriarch Golde after Andrea Martin’s departure, reactions were mixed. O’Donnell clearly enjoyed playing the role and making it her own. Critics enjoyed her energy and her chemistry with lead Harvey Fierstein. However, others believed her singing voice lacked warmth and polish. Additionally, O’Donnell’s attempt at a Yiddish accent was a questionable choice, especially since she was the only cast member who tried to include it in their performance.

This show about the Merry Murderesses of Cook County has had quite a few stunt castings over its many years on Broadway, but this particular one is remembered as one of the most divisive. As the show’s lead, there is no room to hide lack of vocal or dancing ability. Some critics panned Griffith’s turn as Roxie, but others said the role suited her well as a stage debut. Despite some criticisms of her voice and dancing, Griffith’s run was entertaining, and she revitalized interest in the show. This particular stunt casting ultimately paid off for the show’s producers and created plenty of buzz.

Revivals of classic shows can breathe new life into them and revitalize them for modern audiences. Unfortunately, revivals of beloved plays and musicals can also cause rifts in the community. During casting for the Broadway revival of Arthur Miller’s “All My Sons,” director Gregory Mosher wanted to cast actors of color in the roles of siblings George and Ann. When auditions were underway, Miller’s estate disagreed with Mosher’s decision to cast actors of color in the roles of the siblings. The estate suggested “colorblind” casting instead, which led to Mosher leaving the production. The revival was ultimately cast with a colorblind approach and received three Tony nominations.

Andrew Lloyd Webber’s musicals have had no shortage of casting controversies. After all, in 2012, Ricky Martin’s turn as Che in “Evita” was torn apart by critics. However, the most controversial decision came straight from ALW himself. When Lloyd Webber’s “Sunset Boulevard” debuted in London, Patti LuPone starred as Norma Desmond. LuPone and Lloyd Webber had previously worked together during “Evita,” and LuPone believed she would star in “Sunset Boulevard” when it transferred to Broadway. However, ALW fired LuPone directly and replaced her with Glenn Close. LuPone sued the composer for more than $1 million, and their feud lasted for more than two decades. Although they appear to have made amends, this decision and its fallout made waves across the theater community.

Despite the theater community’s attempts to be inclusive, there are still plenty of missteps and nonsensical decisions when it comes to representation. The Off-Broadway production of “Southern Comfort” cast a cisgender actress in its transgender leading role while only casting transgender actors in minor roles. Sadly, this incident was not isolated. When “Jagged Little Pill” premiered at American Repertory Theater, the character Jo was written to be nonbinary, despite being played by a cisgender actress. After the musical’s Broadway transfer, references to Jo being nonbinary were erased, causing even further controversy. The show’s producers eventually apologized, but these incidents bring light to the disappointing lack of opportunities and representation for trans and nonbinary actors.

There’s no question about Michele’s talent, but her reputation for being rude and difficult to work with has made her a controversial figure in the theater community. Despite her very public years-long audition for the role of Fanny Brice, Michele was not cast in the revival of “Funny Girl.” Instead, Beanie Feldstein was cast in the lead. While Feldstein’s comic timing and likable demeanor made her a great fit, her singing voice lacked power and polish. Critics panned the show, and only a few months after its premiere, Feldstein announced she was stepping away. Shortly after, Michele was announced as the new Fanny, leading people to wonder if the production pushed out Feldstein for Michele. Once again, “Glee” has managed to predict the future.

As evidenced by the Me Too movement, the entertainment industry is full of corrupt people who sweep sexual misconduct allegations under the rug. As a principal dancer at the New York City Ballet, Amar Ramasar dazzled audiences. However, in 2018, Ramasar was fired from the ballet after sexual misconduct allegations surfaced. Although the allegations were proven to be true, some believed the punishment was too extreme, and Ramasar was reinstated. When Ramasar was cast in the 2020 revival of “West Side Story,” people were outraged. Protestors surrounded the theater during previews, and thousands signed online petitions calling for his dismissal, but the show’s producers stood by their decision to cast Ramasar. Regardless, the revival was ultimately cut short by the COVID-19 pandemic.

As an adaptation of a 70-page excerpt from “War and Peace,” this musical was nothing short of ambitious. Its creative staging and unusual source material made it a critical darling. However, after Josh Groban left the production, the musical struggled financially despite the incredible performance of Groban’s replacement Okieriete Onaodowan. In an attempt to sell more tickets, the producers brought in legendary performer Mandy Patinkin, cutting Onaodowan’s time as Pierre short. The decision sparked a fire of outrage across social media, with many questioning if the move was racially motivated. Patinkin withdrew from the show before he even took the stage, and the production closed only a few weeks later due to the controversy.

As we have discussed, the powers that be in the theater world have a nasty habit of casting well-known actors in roles they shouldn’t be playing. The plot of “Miss Saigon” is divisive, with many calling the show racist and misogynistic. In the original West End production, white actor Jonathan Pryce wore bronzing makeup and facial prosthetics in his role of The Engineer. When the show moved to Broadway, Pryce was nearly barred from the production because the Actors' Equity Association believed that the role should be played by an Asian performer. Eventually, the show debuted on Broadway with Pryce still in the role, sans makeup and prosthetics. “Miss Saigon” sparked protests in New York and remains a controversial piece of musical theater to this day.