We were interested to read your editorial (A ‘yellowface’ casting row points to opera’s diversity problem, 16 October) which covered the key issues relating to the all-white casting of the production of The Golden Dragon. At Equity we have recently launched our Manifesto for Casting which sets out our ambitions in this area, and includes the very clear statement that a diverse range of performers should be auditioned for every production. While we are conscious that there are some important initiatives in place to increase diversity in opera, there remains a very real problem with the limited pool of singers available.

There is a clear need to increase the numbers of singers of east Asian origin who don’t require a work permit. We are currently in discussion with Music Theatre Wales about our manifesto, and hopefully we will be able to partner with them to improve their approach to casting diversity.

Hilary Hadley

Head of live performance department, Equity

• No one can dispute that opera and indeed the arts in general have a major problem with regards to BAME presence both on stage and in terms of the teams who originate work.

The intersections of race, class and gender mean that, particularly in music, white upper-class men are advantaged. But it seems particularly unfortunate that the target has become The Golden Dragon, an excoriating critique of the privations faced by migrant labourers. Its depiction of the consequences of illegal status and the horrors of sexual violence make this a disturbing and engaged piece of music theatre. The original play by Roland Schimmelpfennig consciously plays with the issue of representation problematising the concept, and the opera constantly unsettles any fixed form of identity.

Music Theatre Wales has an outstanding record of presenting challenging material. Its last offering was sung in Welsh by native-speaking singers. Hackney Empire in London would seem to be the perfect venue for The Golden Dragon to be shown and for the issues of BAME participation, representation and visibility at all levels to be debated with the cast and director. Better that than to deny an audience the chance to engage with a challenging piece of brilliantly directed music theatre which deals with some of the most pressing issues of our times.

Professor Sue Clegg and Derek Howl

Leeds

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