Sir Cameron Mackintosh says transgender casting would "damage the integrity" of classic shows

Super-producer Sir Cameron Mackintosh recently unloaded a wave of “transphobic comments to a U.K. news site declaring he opposes transgender casting in classic shows because he considers it “gimmick casting” and such a decision would “damage the integrity of the original storylines”.

In an interview with The Telegraph, Mackintosh was discussing his musical Mary Poppins and if he could see the title role being played by a trans woman.

“You can’t implant something that is not inherently there in the story or character, that’s what I think. Just to do that, that becomes gimmick casting. It’s trying to force something that isn’t natural.

He added that PL Travers’ tale “was not about that, that was not the story of that family”.

Mackintosh then went on to state that he supports the inclusion of trans characters in new works or other works that would be potentially inclusive but that writers and composers should create diverse roles for performers rather than change established pieces.

While the conversation centered on Mary Poppins, it’s unclear if he was also referring to his other hits such as The Phantom of the Opera, Les Misérables, or Cats.

But Mackintosh also stressed that he supports diversity and inclusion when it comes to BIPOC performers and his “proud” of his track record when it comes to casting them in his shows which also include the West End’s Hamilton.

“It’s our job to tell the story with the best talent. I’m thrilled with the amount of people I have been able to bring, from all walks of life and all colours of the rainbow, to my shows,” he said.

So, here’s my take. In short, what Sir Cameron Mackintosh is saying is terribly transphobic. His attitude, that being inclusive towards trans performers for classic shows, is damaging and perpetuates stigmas that often prevent them from being considered for lead roles.

Did the recent production of Little Shop of Horrors starring trans performer M.J. Rodriguez have its storyline damaged by her casting? Not in the slightest. In fact, it perfectly demonstrated how inclusive that show can actually be. If Mackintosh were producing it? From his comments, he would have none of that.

For him to call such a casting a “gimmick”, is terribly insulting. To be clear, casting a reality-TV star with no performing experience as Velma Kelly is a gimmick. Embracing inclusion and casting trans performers in roles otherwise thought to be “default-cis”, is not.

It’s also deeply troubling that Mackintosh would have no problem with a Black, Latino, or Asian Mary Poppins, but forcibly draws the line when it comes to gender. While the character is loosely based on a real person, who was white, Mackintosh seems to not have a problem changing the fictional character’s race, as long as it’s being portrayed by a cis female performer. Never mind the character performs magic in the show, makes toys come to life, and has the power of flight, but a trans woman? No way, according to Mackintosh and his archaic views.

Mackintosh’s comments, while infuriating, aren’t surprising. Over the past couple of years, we’ve seen more and more theatre industry powers pledge change and inclusion, only to fall short or break promises. While Broadway is known for these failings, it’s a shame to see the West End seems to have its own.

Some may think I’m overestimating the dangers of Mackintosh’s comments. After all, we’re talking about a producer that only has one current running Broadway show, hasn’t won a Tony in twenty-seven years, hasn’t been nominated for one in seven, and hasn’t been attached to a new Broadway show since 2006.

But Mackintosh, while clinging to his old hits, is still a name synonymous with professional theatre and he still has a huge influence over the industry worldwide. And to hear repugnant comments coming from a voice like his, is beyond disappointing and another despicable obstacle for trans performers to overcome.