Bowersock, who chairs the theater committee, believes that "there should be open auditions for anyone. A director may have considerations of style, but race ought not to enter in." Epps agrees that "a person should be chosen for roles on the basis of his ability to portray the character, not just," he adds, "because of the right of access, but also because it is important for us to go beyond racial stereotypes."

Students involved in theater are divided on the issue of casting. While all agree that maximum student use of the Loeb is crucial, some students point to both ideological and practical problems inherent in such a policy.

Linda Thurston '80, president of Black CAST, says. "If I were doing Garry's play, and wanted to do it realistically, I would probably not consider a black actor. If Tim's interpretation was that the play needed white actors only, he at least owed non-white actors the courtesy of specifying his needs before they tried out--which is what Black Cast has to do.

"Similarly, if I wanted to cast Purlie Victorious or Colored Girls and if it were important to my concept, I wouldn't put white actors in it. You can't take away from creative desion-making, and you can't force white directors to cast something colorblind."

HRDC's Maguire, on the other hand, says, "Turning people away without giving them a chance is inexcusable, especially since some of the most dynamic people acting at Harvard now don't fall into any one theatrical complexion." She added that a play like "The Royal Family" is a dated vehicle, and needs deletion of offensive phrases like "shuffling two-bit." Marcela Davison, producer of "The Royal Family," says that she "never intended to have closed casting. That's a tenet of every show: I know that's a policy of HRDC."

An Asian student, Tetsuya Yamamoto '80, also tried out for "The Royal Family," did not read one of the lead roles and did not get called back. "Ideally," he says, "it would be best if directors and the audience could disregard people's backgrounds, but I don't think they can." Yamamoto isn't sure whether his ethnicity prevented him from winning a part in Garry's play, but he says he has felt "discouraged" from seeking non-Asian parts because the audience may not be receptive to him.

At this point the controversy remains unresolved, plaguing the participants with feelings of self-doubt, guilt, anxiety and resentment. Hail refused to re-read for the part of Jo; Garry cast his play without him and has rehearsals fully underway.

Over dinner one night, Hail discussed the incident with a white student who didn't understand why he was so upset.

"You can always do a musical," he suggested, "since they're unrealistic."

But all black people don't sing and dance.

'You can't take away from creative decision-making, and you can't force white directors to cast something color-blind.' --Linda Thurston '80.   president of Black CAST