I’m a mongrel: 25% British, 25% Sudanese, 25% Ghanaian, 12.5% Yemeni, 12.5% Turkish. Mongrel is a derogatory term used to describe non-pedigree animals, yet here I suggest a greater definition – one of pride for the mixed origins of my birth. As a young, mixed-race director, colourblind casting is something that needs to be confronted and explored. Is colourblind casting the new revolution?

One of the greatest pioneers of black theatre, August Wilson, once noted that being black is the “largest and most identifiable part of our personality”. It is not about appearance, it is a part of your psyche. Wilson believes that because race, specifically being black, is your largest physical feature, it is therefore the most important part of your being. It is not easy to pretend that the slave trade never happened, or to forget the years of discrimination which cling to your being like a bad dream. So Wilson would ask: how can we buy into colourblind casting without blinding ourselves? He believes colourblind casting to be a denial of your culture and race; that being black is a responsibility that should be celebrated exclusively.

Yet Wilson began his career at a time when racism was a fiercer battle and mixed marriages were unheard of. I would like to believe that we have moved on from that, even if just a little. When Nicholas Hynter cast Adrian Lester in 2003 to play Henry V he showed the theatrical world how talent can come before appearance. Many directors have followed suit, I imagine to Wilson’s horror. Non-white actors have been seen in the West End in roles from Billy Eliot to Lady Macbeth. I have seen a fantastic production of Romeo and Juliet with a brilliantly played Jamaican Juliet. As an audience member we were made consciously aware of that, and the play introduced an interesting layer of racial conflict. Intentional race casting can also be skilfully done and bring a refreshing outlook to old plays.

Theatre is a pretence, so if the play is successful enough you should not be fazed by the conundrum “she’s black but both her parents are white?” Just let the performance take you on a path of the imaginary. However, colourblind casting can only go so far. For example, I don’t think that a play such as A Raisin in the Sun could be performed by white actors. A Raisin In The Sun is a play based on the struggles of an African American family and I feel it would be an insult to Lorraine Hansberry’s legacy if the play was not performed at its best. Which, for me, can only be achieved through the empathy and understanding of racism that a black person can have.

So colourblind casting is a complicated matter and something you should explore as a future director. Is colourblind casting the new revolution? Well, no, it is an inevitable development of our ever-changing world. In a world where Chinese, Indian, Italian, Lebanese, Caribbean and European cuisine line the side of one street it seems natural that theatre has evolved to accommodate. It is a great thing, but we haven’t got there yet: not many directors are convinced and  realistically, many still put appearance first. Statistics show that more and more ethnic minority actors are moving to the US as there are more opportunities. Clearly we are not embracing cultural diversity enough. So I suggest another solution: let’s embrace the intertwining cultures of the world we live in. Lay down the scripts of old and turn to playwrights of the present; we live in a world rich with new writings and new work that comprise mixed cultures so let’s celebrate this.